NEW  YOI^  •  CaNCINNATI  • 


Imbm 


Southern  Branch 
of  the 

University  of  California 

Los  Angeles 

Form  L-1 

V.  5 


This  book  is  DUE  on  the  last  date  stamped  below 


JAf^  2  7 


1943 


Natural  Music  Course 


HARMONIC 
THIRD  READER 


BY 

FREDERIC    H.    RIPLEY 

PRINCIPAL   OF   THE   PRINCE   SCHOOL,   BOSTON 
AND 

THOMAS    TAPPER 

LECTURER   ON   MUSIC   AT   THE   INSTITUTE  OF   MUSICAL   ART 
OF   THE   CITY  OF   NEW   YORK 


47205 

NEW  YORK  .-.  CINCINNATI  .-.  CHICAGO 

AMERICAN    BOOK   COMPANY 


Copyright,  1903,  bt 
FREDERIC   H.  RIPLEY  and  THOMAS   TAPPER. 


Entered  at  Stationers''  Hall,  London. 


Hashonic  Thibd  Readbk. 

E-P    4 


f^  53  6 

PREFACE. 


What  the  ultimate  aim  and  scope  of  music  study  in  elementary  schools 
■will  become,  is  by  no  means  fully  agreed  upon,  but  the  action  recently 
taken  by  Harvard  College,  by  which  music  is  made  an  accredited  study, 
ranking  with  language  and  mathematics  in  entrance  examination,  gives 
new  life  and  purpose  to  elementary  work. 

It  is  evident  that,  to  the  traditional  singing  for  entertainment  and  for 
the  cultivation  of  aesthetic  and  ethical  sentiment,  must  be  added  an  ear, 
eye,  and  voice  training  by  means  of  which  music  as  an  art  is  revealed  to 
the  pupil,  and  that  this  work  must  be  so  done  as  to  leave  in  the  pupil's 
mind  elements  of  knowledge  and  power  which  can  be  used  in  more  ad- 
vanced study. 

This  course  aims 

1.  To  arouse  and  cultivate  the  aesthetic  nature  of  the  child. 

2.  To  give  skill  in  aesthetic  production. 

3.  To  establish  the  power  to  express  individual  thought  and  feeling 
in  musical  language. 

The  course  never  loses  sight  of  these  great  aims.  From  the  first  lesson 
to  the  end  of  the  course,  the  child  is  kept  in  an  atmosphere  of  pure  music ; 
from  the  beginning  to  the  end,  he  is  trained  to  enjoy  pure  music;  from 
the  first  day  to  the  last,  he  uses  pure  music  as  a  means  of  self-expression. 
Not  only  does  this  make  music  the  greatest  humanizing  influence  in  the 
course,  but  it  cultivates  taste,  discrimination,  and  sentiments  which  en- 
dure ;  so  that  through  his  musical  education  in  school,  the  child  gains  a 
lifelong  resource,  a  perpetual  moral  safeguard. 

In  the  Third  Harmonic  Reader  of  the  Natural  Course,  the  following, 
salient  features  should  be  noted : 

1.    The  book  reviews  previous  steps  and  presents  new  combinations. 

Har.  Third  Reader.  (  8  ) 


4  PKEFACE. 

2.  It  gives  copious  and  specific  suggestions  in  regard  to  the  way  of 
presenting  every  new  point. 

3.  It  offers  ample  and  varied  material  for  practice  and  drill. 

4.  It  furnishes  helpful  and  simply  expressed  suggestions  on  the  ele- 
ments of  musical  theory  involved,  in  numerous  closely  condensed  foot- 
notes. 

5.  It  contains  graded  dictation  exercises,  which  serve  both  as  a  test  of 
previous  accomplishment  and  as  a  source  of  power  in  composition. 

6.  It  presents  one-voice  exercises  for  the  cultivation  of  individual 
power  and  part  exercises  for  training  in  harmonic  perception  and  independ- 
ence in  reading. 

7.  There  is  a  rich  supply  of  song  material  in  various  forms  and  grades, 
illustrating  the  simplest  as  well  as  the  more  advanced  tonal  and  rhythmic 
elements. 

8.  Carefully  selected  vocal  drills  for  voice  cultivation  form  a  part  of 
every  lesson. 

9.  In  common  with  the  other  Harmonic  readers  of  the  Natural  Course, 
this  volume  contains  a  collection  of  meritorious  patriotic  and  devotional 
songs,  suitable  for  general  assemblies  and  special  occasions,  and  a  few 
well  selected  folk  songs  which  are  familiar  in  American  life. 


Har.  Third  R*«I«r. 


DIRECTIONS. 

Every  lesson  should  open  with  a  vocal  drill,  with  the  children  stand- 
ing. The  vocal  drill  should  secure  (1)  purity  and  beauty  of  tone  and 
correct  breathing,  (2)  perfect  flexibility  of  the  vocal  organs  and  clear  and 
rapid  enunciation. 

The  scale  should  be  constantly  used  as  a  vocal  drill.  Sing  with  free, 
pure  tone,  down  and  up  from  different  pitches. 

Note.     Having  sung  the  scale  from  C  down  and  up,  the  teacher  says,  "Sing  up  one." 


f 


The  pupils  sing    -7fl^     "  and  holding  the  second  tone  change  the  syllable,  calling  it 


Do.     From  this  tone  as  a  starting  point  they  then  sing  the  scale  down,  and  on  returning  to 
upper  Do  they  again  sing  up  one,  and  repeat  the  exercise. 

Written,  the  exercise  begins  as  follows :  — 


g 


-^ zs- 


-ej      G>- 


i 


lY-. 


zs—^ 


fj^^^^^^^^^ 


Do,    re        -         do. 

Note.  Holding  the  tone  and  changing  the  syllable  is  an  ear  training  device,  not  a 
means  of  securing  a  "new  Do"  merely,  hence  the  chromatic  pitch  pipe  should  be  used  to  test 
the  new  tone  rather  than  to  give  it  at  the  start. 

Enunciation.— Sing  with  the  syllables  Do,  Ti,  La,  Sol,  Fa,  Mi,  Re,  Do, 
with  la,  loo,  ba,  boo,  a,  and  oo. 

Pronounce  each  syllable  clearly  with  perfect  articulation.  Exercise 
the  tongue  and  lips  freely.  Increase  the  rapidity  of  the  enunciation  until 
the  vocal  organs  become  entirely  flexible. 

Har.  Third  Raadar.  (6) 


DIRECTIONS. 


Slowly. 


Examples  of  vocal  drill  for  flexibility. 

Quicker.  Rapidly. 


fe^iaiiflfeaal^^^ls^: 


I 


Then  from  a  higher  pitch  as  below,  and  so  on  until  the  voice  limit  is 
reached. 


^^^Pigi^igHlJi^SiB 


The  various  drills  presented  in  the  body  of  the  book  are  intended  to 
be  treated  in  this  manner. 

These  vocal  drills  are  useful  as  a  means  of  reviewing  rhythm  —  the 
first  requiring  one  tone  to  a  beat,  the  second  two  tones,  and  the  third  four 
tones,  as  above. 

Marking  the  Meter. — The  accent  should  be  strongly  marked  in  these 
drills,  and  when  they  are  used  to  enforce  the  rhythmic  teaching  the  pupil 
should  indicate  the  beat  in  some  unobjectionable  manner  so  that  the  teacher 
may  be  sure  that  the  idea  is  grasped. 

Dictation  Exercise. 

A  brief  dictation  exercise  should  follow  the  vocal  drill.  By  this  means 
perception  of  tone  relation,  as  developed  in  melody,  is  carried  forward. 

The  exercise  should  include  (1)  the  scale,  major  and  minor ;  (2)  inter- 
vals, diatonic  and  chromatic ;  (3)  meters  and  rhythms. 

Illustration. — The  teacher  may  sing  with  loo,  and  the  pupils  should 
respond  with  the  syllables  as  shown  below :  — 


Teacher. 


i 


Pupil. 


Teacher. 


¥ 


M 


Pupil. 


W 


:^^=e: 


1 


Loo,  loo,  loo.        Do,    ti,   do. 


Loo, loo, loo, loo. 


Do,     ti,     la,     do. 

Har.  Third  Reader. 


DIRECTIONS.  7 

Written  Dictation. — The  oral  work  should  be  followed  by  a  few  written 
examples.  For  this  purpose  a  staff  may  be  drawn  on  the  board,  the  first 
note  placed  in  position,  and  then  the  exercise  sung  by  the  teacher  should  be 
written  by  the  pupils.  Measures,  meter  signatures,  note  values,  and  the 
use  of  rests  may  be  taught  in  this  way. 

Illustration. — The  teacher  may  say,  "Write  in  the  key  of  F  the  melody 
which  I  shall  now  sing."     She  may  then  sing  this :  — 


^^^^^^m 


To  write  this  little  exercise  correctly,  the  key  signature,  the  meter 
signature,  the  note  values,  and  the  pitch  relations  must  be  clearly  in  mind. 
No  more  complete  test  of  musical  knowledge  and  ability  at  this  point  can 
be  given,  and  when  the  ease  with  which  it  may  be  examined  is  considered, 
it  recommends  itself  strongly  to  all  who  are  now  inclined  to  call  for  defini- 
tions and  long  and  laborious  tests. 

Individual  Singing. —  Written  dictation  will  show  the  necessity  for 
individual  singing,  and  for  a  constant  regard  for  the  progress  of  those  whose 
musical  development  has  been  retarded,  either  by  neglect  or  by  physical 
defect.  In  every  class  will  be  found  those,  too,  who  have  come  into  the 
school  from  localities  in  which  music  is  not  taught  at  all.  These  pupils 
must  receive  individual  instruction  or  fail  altogether.  The  written  dic- 
tation leads  directly  to  the  discovery  of  these  pupils,  and  reveals  to  the 
teacher  the  course  to  be  pursued. 

In  conducting  the  individual  singing,  allow  each  pupil  to  select  from 
a  given  page  the  exercise  which  he  thinks  he  can  sing.  As  soon  as  he 
has  sung,  place  the  number  of  the  exercise  against  his  name  on  a  list 
prepared  for  the  purpose.  Require  each  pupil  to  sing  a  certain  number  of 
exercises  alone  each  month,  and  use  the  record  as  a  means  of  individual 
ranking  in  the  subject.  As  confidence  increases,  assign  exercises  to  be  sung 
and  80  make  the  tests  more  definite. 

Har.  Third  R«ad«r. 


8  DIRECTIONS. 

Scale  Successions. —  In  assisting  backward  or  neglected  pupils,  make 
sure  first  that  they  are  familiar  with  the  scale  successions ;  that  is,  that  they 
instantly  recognize  the  tone  above  and  below  any  given  tone.  Thus: — 
What  is  below  Do  ?  What  is  above  ?  If  this  (pointing  to  a  note  on  the 
staff  )  represents  Mi,  what  is  this  (pointing  to  one  above  or  below)  ? 

The  response  to  these  questions  should  be  instant  and  accurate.  The 
exercise  should  be  individual  and  should  be  used  as  a  means  to  an  end,  not 
an  end. 

The  Syllables. —  The  syllables  suggested  in  these  directions  are  often 
used  too  long  and  too  devotedly  for  the  best  results.  From  the  very  begin- 
ning the  syllables  should  be  used  to  establish  scale  relations,  which  should 
then  be  expressed  without  syllables.  Many  strive  to  avoid  the  evils 
arising  from  the  too  constant  use  of  syllables  by  abandoning  them,  but 
we  find  the  opposite  course  more  efficient.  That  is :  —  use  the  syllables  so 
skilfully  that  their  use  becomes  unnecessary.  By  this  we  mean  that  the 
syllables  should  be  used  to  reveal  the  relation  of  little  tone  groups,  and 
that  if  the  syllables  are  so  entirely  at  command  as  to  suggest  the  relation 
instantly  it  will  not  be  necessary  to  sing  the  syllables,  but  the  tones  may  be 
given  at  once  with  a  neutral  syllable  or  with  words. 

Words  and  Music. —  There  will  always  be  some  difficulty  connected 
with  the  rendering  of  words  and  music  at  sight,  because  no  one  can  do  two 
things  at  once  so  well  as  he  could  do  either  alone,  but  practice  will  enable 
pupils  to  gain  a  very  creditable  degree  of  power  in  this  direction.  Hence, 
words  and  music  at  sight  should  form  a  part  of  the  regular  work. 

Part  Singing. — When  beginning  part  singing  dwell  upon  each  exercise 
until  the  harmony  is  pure.  Sing  lightly,  and  with  rather  a  lively  tempo, 
so  avoiding  the  rough  and  heavy  work  which  is  apt  to  result  when  children 
are  struggling  to  hold  a  part  against  other  voices.  Return  to  the  sim- 
plest chord  exercises  before  taking  up  advanced  part  work,  and  be  sure 
that  each  child  sings  the  tone  assigned  to  him.  Sing  the  part  exercises  with 
a  neutral  syllable  as  soon  as  possible,  and  use  the  Do,  Re,  Mi  when  neces- 
sary only. 

Her.  Third  R«ader 


PART  I. 

Study  of  the  Scale. 

The  scale  may  appear  in  as  many  different  positions  on  the  staff  as 
there  are  staff  degrees.  The  major  scale  is  shown  below  in  four  different 
positions. 

Note.  This  exercise  should  be  used  for  an  oi)eiiiDg  vocal  drill.  Sing  with  various 
vowel  sounds. 

Chart  Ser.  F,  page  1,  Ex.  1,  2,  and  3. 
Major  Scale  from  C. 


^^i^^^ 


=t=t 


i 


^-s 


Major  Scale  from  D. 


s^^^^^^tl 


la,  ti,  do 


Major  Scale  from  F. 


Do,  fa      - 


IEEE 


^JE5- 


3 


=#—!«: 


^1 


do, 


H  Sharp,     b  Flat.       g|fe         [^^         ^ 


Key  Signatures. 


The  key  signature  shows  the  position  of  the  first  or  key  tone  of  the  scale.  The  sharp 
farthest  to  the  right  is  always  on  7  or  Ti.  Tlie  flat  farthest  to  the  right  is  always  on  4  or  Fa. 
The  illustration  above  shows  how  to  hnd  the  key  tone  in  these  exercises  by  means  of  a  C 
pitch  pipe. 

Har.  Third  R»ad«r. 


10 


Review  Exercises  for  Individual  Reading. 


Vocal  Drill. 

To  be  sutuffrom  different  pitchen. 


^^ 


-^ *- 


♦-#- 


Chart  Ser.  F,  page  1,  Ex,  1,  2,  3,  and  4. 
Ex.  1. 


i 


3 


«=*: 


3EE3; 


3^ 


i 


ii 


-^ — ^- 


Ez.  2. 


i 


B=St 


^=F=P^ 


I 


^-^ 


r — ^ — * — »^ 


± 


Ex.  3. 


i 


§=^ 


-^ 0- 


t=t=F: 


122: 


^ ^" 


3": 


"^ »■- 


Ex.4. 


i^ 


d=t 


I3;g£^j-^ij 


3^ 


^=*=r 


^=:^ES 


11 


Do,  re 
Ex.  6. 


do, 


W^ 


53EEfe^Eg 


^0 


a: 


^^^EE^EEi. 


Ex.6. 


^^^^^ 


P 


:^ — -^- 


Ex.  7. 


Ex.8. 


Ex.  9. 


P^l^^^ 


f=f 


-^-J—- ^- 


i=r 


* 


g=5      ra- 


^=^ 


f- 


-<^- 


I 


i^^P^i 


I 


:2; 


^ 


L-ilz: 


:3^ 


H 


:^=zd: 


d=^: 


^ — ^ 


Har.  Third   Reader 


11 


A  SUMMER  SONG. 


Julia  C.  Dobb. 


i 


2 


:4: 


m^tz^z 


W- 


^-It^ 


1.  Roll  -  y  -  po  -  ly  hon  - 

2.  Jaun-ty  rob  -  in  red  - 
8.  Lit -tie  yel-low  but  - 
4.  Ros  -  es      iu     the  gar  - 


ey  -   bee,    Hum-ming  in     the     clo      -  ver, 

breast,  Sing  -  ing  loud  and   cheer    -  ly, 

ter  -   cup,   By      the  way  -  side  smil     -  ing, 

den    beds,    Lil  -  ies    cool  and    saint     -  ly. 


i 


i^: 


— 0—m— 


3=1- 


IZ^ 


With     the  green  leaves  un   - 

From   the  pink- white     ap   • 

Lift  -  ing       up     your     hap 

Dar  -  ling  blue-eyed      vi    - 


^ 


-l^F 


der  you.    And     the    blue  sky      o     -     ver, 

pie  tree.      In      the    morn-ing     ear  -   ly, 

py  face.  With  such  sweets  be  -   guil  -  ing, 

o    -  lets,    Pan-sies   hood-ed      quaint -ly, 


^m 


Why  are 

Tell  me. 

Why  are 

Sweet  peas 


^-^ 


:£^ 


-^ 


=f=t= 


you    so  bus  - 

is     your  mer  - 

you    so  gay  - 

that  like  but  - 


y,      pray,  Nev  -  er  still    a  min  -  lite, 

ry      song  Just     for  your  own  pleas  -  ure, 

ly      clad,  Cloth    of  gold  your  rai  -  ment? 

ter  -  flies    Dance  the  bright  skies  un  -   der. 


g 


X- 


:fi 


:]^z*: 


^e^^S^^i 


Hov  -  'ring  now     a    -  bove   a    flower,Now  half  bur  -  ied  in 

Poured  from  such     a  ti    -    ny  throat, With-  out  stint  or  meas 

Do       the  sun  -  shine  and     the   dew   Look    to  jou     for  pay  - 

Bloom  j-e  for    your  own    de  -  light.    Or     for  ours,  I  won  - 


it? 

ure? 

ment? 

der? 


Ex.  10.     Chart  Ser.  F,  page  6,  Ex.  5 


i 


%:S==- 


sra    -- 


15- 


:3^s 


4y 


:?2: 


4:^ 


m^^m- 


-y 


1 — ^ — ^^m~^ 

n-^rrr 


a 


3e^^ 


3=^ 


t 


~^W- 


-.4=^ 

:^-^- 


z^ 


m 


^^^^ 


I 


<^  Whole  Note.  ^  Half  Note.  J  Quarter  Note.  ^  Eighth  Note. 
^  Sixteenth  Note.  ■— •  Whole  Rest.  -~  Half  Rest.  Jf  Quarter  Rest.  •!  Eighth 
Rest.     ^  Sixteenth  Rest.     A  dot  placed   after  a  note  increases  its  value  one   half,  thus : 

J.  equals  ^^  or  J  J  J ;  J.  equals  JJ"  or  J^J^J^i    J"-  equals  j^  or  *5^^^ 

Har.  Third  Reader. 


12 


Ex.  11. 


Ex.  12. 


i^^^SI#j^^^^^^i 


^^iii^i^^ 


d: 


S 


^1 


atjd: 


^^4J «-^#-^ 


Ex.  18. 


Ex.  14. 


I 


tei 


3^e::3 


-S'-r- 


L^- 


ife^ 


liip^"^l^l^iiB 


Ex.  15. 


M^^^^^^^^ 


i=t 


122: 


i--^rd-i 


w-jg 


i 


\s- 


iE^ipi^3^i^3^pi^j^^^l 


Ex.  16. 


Ex.  17. 


iSTt 


■0l:s2l 


« 


-^ZUtL 


^ll^^^^p^p 


^i^i^SPIiil 


:=]: 


T3*-*      •^^' 


'^^-A 


ill 


.^— ^  Tie.     Two  notes  representing  the  same  pitch,  joined  by  a  tie,  axe  sung  as  one  note 
having  their  united  value. 

Har.  Third  Rsadar. 


13 


THE    BELL-MAN. 


Chart  Ser.  F,  page  3. 

BOBEBT  HKUKICK. 


From  noise  of  scarefires  rest  ye  f ree, From  m urders, Ben -e  -  di  -  ci  -  te;  From 


i 


ite= 


l^j=j=Si 


::j=:3 


-J:=:itJ=d: 


■0 -0 ■#-: -0 -^- 


,^— J: 


all       mis-chan-ces    that  may  fright  Your  pleas-ing  slum-bers   in      the  night, 


'^^i 


3^3^=d: 


:^:j: 


5 


-^ — #- 


^--^— *^^ 


P 


t-— ^— 55— ^- 


i^. 


firi 


i 


:i 


:i=35: 


^r=f 


ZT'-r^  r 


^r 


Mer-cy   se-cure  ye     all, and  keep  The  gob  -  lin    from  ye     while  ye  sleep. Past 


fe^x=/=J=J=pJ=>^J=-J 


-jhirj=-jbp=l=p_|       I   |H=-J_J_H 


f"=iJ=r=r- 


one       o -'clock  and      al  -  most  two.  My     mas  -  ters   all,  "Good  day    to    you." 


Pa^ 


^^d^ 


:=1===1 


^3Sf3^^^ 


-* — • — *- 


H*r.  Third  R«>d«r. 


14 


Chromatic  Study  (  Sharp  Four  from  Above  ). 

Ex.  18.  Ex.  19. 


i 


^M 


ife 


i 


''-^=:\-- 


^ 


i^ 


=1: 


zzUM=* 


-<S'- 


:«* 


Do, 
Ex.  20. 


sol 


do,        ti, 


do. 


Sol,       fi,        sol. 


^ 


^^3^ 


;^=* 


1 


^ift 


Ex.  21. 


i 


W^ 


^: 


*Mt* 


i 


1 


i 


Ex.  22.     Chart  Ser.  F,  page  3. 


flggS 


t: 


:p=p: 


Do, 
Ex.  23. 


do, 


s 


^ 


Ex.  24. 


^^;g^^i^^^^^ia 


Chart  Ser.  F,  page  8,  Ex.  2. 

Ex.  25.  Ex.  26.  Ex.  27. 


^^^^^^p#^^a 


Ml 


»|3 


-*— ^- 


iis^ 


'^0^^ 


i 


The  word  chromatic  is  derived  from  the  Greek  word  chroma,  meaning  color.  Chromatic 
tones  are  so  called  because  they  were  at  one  time  indicated  by  notes  of  a  different  color  from 
the  others.  Notes  representing  chromatic  tones  are  called  accidentals  ;  they  are  now  indicated 
by  Sharps  (I),  Flats  (b),  Naturals  (fl),  Double  Sharps  (x),  or  Double  Flats  (bb).  Ex.  18 
serves  as  a  key  to  the  chromatic  in  Ex.  19  ;  the  two  are  alike  in  effect. 

Har.  Third  Reader. 


NIGHT. 


Elizabeth  Likdneb. 

Slowly  and  soflly. 


Robert  Frakz. 


-fc 


S 


^^^ 


i 


zd: 


16 


^. 


3it=i 


1.  Stay 

2.  Eyes 


with 
so 


me, 
dark. 


O 

on 


time 
me 


of 
re 


shad 
pos 


ow, 

ins:. 


Pte 


W 


O'er 
Let 


me 
me 


cast 
feel 


thy 
now 


mag 
all 


ic 
thy 


spell ! 
might ; 


i 


i? 


^^Ei. 


Dream 
Ev 


er 


sweet, 
grave 


tran 
ev 


quil 
er 


night 
ten 


time, 
der. 


^^ 


^^ 


Thou 
O 


the 
ver 


cares  of  day 

whelm     -    ing,        won 


dis 
drous 


pel. 
niffht ! 


Filled 

my 

heart 

for 

ev 

er 

more. 

O'er 

my 

life  .  .   . 

ex  - 

tend 

thy 

sway 

Har.  Third  Reader. 

16 


Chromatic  Study  (Progression  by  Minor  Seconds  Upward). 

Chart  Ser.  F,  page  12,  Ex.  1  and  2. 
Ex.  28. 


^^=^g=^La^^^g=g 


^ 


i 


-<&- 


Ex.  29. 


Ex.  30. 


i 


* 


=± 


^1 


:=]= 


^ 


^ 


PE#= 


ffi=q: 


-(1^— h^- 


Ex.  31. 


^^^P 


■^z 


:=1==i 


1^ 


=t 


Ex.  32. 


■M=^- 


!=*=!*- 


i^ 


-^ — 1^- 


^=^=i^^ 


I 


', I  L 


±2z 


:=l: 


=1: 


-^ ^- 


Pl^^^ 


:§ 


Ex.  33. 


-ts*R- — ■ 


^ 


_.J:LLJ=qv 


^itl 


'^-^^^^m 


^^ 


The  meter  signatures  in  common  use  are  «,  ?,  §,  v?  §,  ^    (C,  sometimes  used  instead  of 

),  8;  2'  8'  *"*^  o  ^^^  ^^^'^  often  used.  In  every  case  the  figures  show  the  note  value  in 
each  full  measure  ;  e.  g. ,  «  means  that  each  full  measure  must  contain  the  value  of  two  half 
notes ;  4  means  that  each  full  measure  must  contain  the  value  of  two  quarter  notes.  The  upper 
figure  shows  also  the  number  of  beats  or  pulses  to  a  measure  ;  e.  g. ,  in  9  meter  each  measure 
has  three  beats. 

Har.  Third  Reader. 


Chart  Ser.  F,  page  14,  Ex.  1. 


MIGHTY  GOD. 


B^E 


17 


^e=^~ 


3 


T 


f^f=f^f 


Might 
All 


y 

the 


God, 
earth 


we 
doth 


wor 
bow 


ship     Thee ; 
the       knee 


i 


ifc^ 


^= 


fcF=±=d: 


t|==fc 


^: 


-_=:±^ 


f 


Lord, 
And 


we 
ad 


praise 
mire 


Thy      pow'r 
Thy      works 


tre  -     men  -  dous  ; 
stu  -    pen  -  dous. 


i 


:^: 


-^ ^ 


P^ 


12^ 


-r- 

As 


Thou       wert 


f—- f-^=F 


t- 


in         days  of  yore, 


-i=r 


|=i=JrW^=d: 


it 


I 


^ 


? 


Shalt         Thou       be 


for    -    ev 


er       more. 


1 


5==g: 


^ 


^ 


-^    '    "^      ft* 


j:    :j    Repeat  Marks.     The  matter  between  such  marks  is  to  be  sung  again.     In 
absence  of  the  first  mark,  repeat  from  the  beginning. 

Har.  Third  Readar. 


the 


18 


Minor  Study  (Review  of  Sharp  Five). 
Vocal  Drill. 

To  be  sung  from  different  pitches. 


P 


Chart  Ser.  F,  page  6,  Ex.  1  and  2. 
Ex.  34. 


Ex.  35. 


*: 


Do, 
Ex.  36. 


la 


do,  ti,         do. 


B^P^ 


La,        si,        la. 


*i 


s 


lenj^i 


^ 


1^—m-^ 


itztJ-ziM: 


^ 


Ex.  37. 


g 


B 


=F=t=J 


iti; 


4=*^=^r 


=F=^ 


:^-=it 


•■^— 


Ex.  38. 


g 


4=4 


-*-r— i-gg 


S: 


^ 


-^=-*- 


=F=^ 


^=^^ 


^=^ 


^=p: 


-^2= 


g 


t=F 


Ex.  39. 


^^^ 


#=?2=pE: 


^ 


^^^^ 


W\~7^ 


I         Ex.  40. 


^ 


a 


^=:g2^^f:=p^^=^zg:ci: 


-^—^ 


Ex.  41. 

I4: 


'r=S; 


^ 


fe^EsiEEE^: 


35===l=*! 


=P= 


g 


:a^ 


-o- 


^p- 


Iffi^^ 


-1^ — •- 


H>r.  Third  R«ad«r. 


19 


i 


THE   MILLER   OF   THE   DEE. 

(  Minor.) 
Chart  Ser.  F,  page  15,  Ex.  1  (first  line). 

Charles  Kingslbt. 
Quickly. 


Old  English  Aib. 


:fi: 


p-zS: 


a^ 


1.  There       was  .     . 

2.  I  live       by 


a         jol 
my       mill. 


she 


mil 


ler       once 
to         me 


Lived 
Like 


^ 


^ 


i 


on 
par 


1*3:^ 


W 


the       riv     -      er         Dee ; 
ent,     child,       and       wife; 


He     worked     and     sang      from 
I        would       not  change     my 


t 


:=^= 


morn       till      night,     No 
sta     -       -      tion        For 


lark         more     blithe       than       he. 
a         -      ny        oth  -  er     in         life. 


i 


n=t=: 


:t:: 


:g 


And 

this 

the 

bur 

-     den 

of 

his 

song 

For 

No 

law     • 

•     yer, 

cur 

■    geon, 

or 

doo 

-    tor 

E'er 

:£^ 


^i^^ 


^^^=0^ 


=K= 


t=F: 


g 


no. 


not      I, 


^^^ 


^m 


ev      -      er     used       to         be:   .     .  I 

had  a      groat     from     me ;     And       I 


care 

for 

no  - 

bod  -  y. 

care 

for 

no  - 

bod  -  y, 

z=^. 


^ 


1wF=|- 


;i 


n 


bod  -  y        cares        for      me.  . 


*  Key  to  above  chromatics  :   P^-^t-TPJ — J^^  — fc'^ 


^^^. 


*^  Do,  do,    ti,    la,  sol. 

^  Hold  ;  this  increases  the  value  of  a  note  at  least  one  beat. 

Htr.  Third  R«td«r. 


La,    la,    si,     fl,  mL 


20 


Ex.  42. 


fe^^ 


'^^- 


^EE^EEEE: 


^^fe 


:t=: 


-1^ — -f: 


IB 


ilsEEi 


--^ -d- 


:ct 


i^i^ 


=t 


Si 


Ex.   43. 


ife^s^ 


=a--f 


d=5= 


^^^E^^E^^H 


^ife 


E^3^ 


"^^^ 


^ 


:=1: 


t=d: 


P0 


Ex.44. 


!E£^^3lS=j 


i^tz-jt 


S3^^ 


-*-^ 


i 


|E 


32:: 


"cr 


-<S'- 


I 


it 


p^^pl^E^^^i^^^ 


122: 


i 


1221 


i^a": 


0  Meter  Mark  ;  this  indicates  that  two  beats  are  to  be  given  to  each  measure.  Observe 
the  difference  between  C  (4)  and  (fJ  (2)- 

Accent.  The  first  beat  of  every  measure  should  be  accented,  and  in  4  and  8  meters  a 
secondary  accent,  weaker  than  the  first,  falls  on  the  third  and  fourth  beats  respectively.  The 
effect  of  the  secondary  accent  in  |[  meter  is  illustrated  by  the  word  com'  pro  mis'  ing. 

Har.  Third  Reader. 


21 


Ex.  45. 


ts 


-r'^^=--r 


EEE 


^ 


-p — #- 


=|: 


=f=2: 


=1: 


f 


m 


_^_^^ 


^ 


Ex.  46. 


lfc^J=5td=tei 


^^E^^^^m 


:B 


I'-r^T^ 


Al^=3 


il 


« — ■— t^-: tl 


^^^^3^^i 


Ex.  47. 


# 


tp-J=J=F--J=i 


I 


^^^-^^^E 


=1=^=1]=;^==^ 


r^ 


m^ 


-c^- 


:3: 


p^l 


Ex.  48. 


^^E^E^^^^E^^li^l^feB 


Har.  Third  Raader 


22 


FAITH   REJOICES. 


P 


=t=|: 


mf 


H.  F.  MULLEB. 


i 


Lte 


SEE 


C2: 


r 


a^ 


1^ 


*-=.■*: 


rr' 


When  earth  -  ly    pro  -  tec  -  tion    be      thwart   -  ed,      And  earth  -  ly     de 


3=b: 


— I 1 1 1 1— 


W^ 


#^: 


^ 


tiS: 


f 


^kr 


mjEE^ 


r 


t=^ 


^^ 


U 


lights     have     de  -   part  -  ed ;      When   death      and     de  -    cay      blend  their 


1^ 


^ 


^£E± 


-jsi 


^=F=? 


9-  -M-        -^ 


cres. 


^^^- 


-<s>- 


5=2: 


-JZ21 


r 


22 tS^ 


If- 


i5> G>- 


r 


-<s^- 


#-: 


voi        -        ces,     Still        high      o   -    ver     all        Faith    re  -  joi 

/7\ 


^=i 


3= 


=1=1: 


s s.— Lj^ ^-^ ^- 


i:^: 


-^ 


^tii 


id^ 


i^ 


5t 


11 


-^—f-' 


-\ — r 


?=="F 


:22: 


:?2:i:= 


ces.  Still    high  o  -   ver       all       Faith      re  -   joi 


^ 


I 


=1=i: 


2=^: 


3 


-jjji. — "c? 


t=1: 


p,  piano,  soft ;  m/,  mezzo  forte,  moderately  strong ;  cre3. ,  crescendo,  increase  the  tone 
power.  These  and  many  other  abbreviations  and  words  used  in  music  are  from  the  ItaliaQ . 
language.    — ==:  increase  the  tone  power ;  ==—  decrease  the  tone  power. 

Har.  Third  Reader. 


23 


Rhythmic  Study  (Dotted  Note). 


Vocal  Drill. 


m 


-^-- — •- 


'=^^^^^ 


EiSS 


Chart  Ser.  F,  page  3. 
Ex.  49. 


■t^-U-W-^tr-t 


Ex.  50. 


Ex.  61. 


^ 


^^^^^^ 


l»^—0- 


^ 


:iit-=J: 


■■^- — ^ 


Ex.  62. 


^S^^ 


=1===d 


-^_^ 


1^^=^. 


Ex.  63. 


i 


fc?±i^ 


q> 


:«: 


;i=^ 


£^^ 


^ 


— I ^— < 


m 


Ex.  54. 


i 


E^-^ 


g*^ 


»_L  |_}-tg— -[--(fc-^-^ 1      I  I     I  J 


^*=i=^ 


Ex.  55. 


S 


pi=* 


^^ 


^ 


4  U    U    C^ 


:-!=•=* 


g 


i 


*=?=^=E 


^^=H=^ 


^"=1^ 


:i*=iit 


Ex.  56. 


g^ 


^ 


^a 


5^ 


3«=e=s: 


:V^at: 


^ 


Har.  Third  Reader. 


24 


Ex.  87. 


igp-^^^Eg^jgg^^^zj^^^ 


ipife^gaf^ 


iS3EEEijiz=S 


i^if^::* 


^±^ii=jtt, 


sv 


B 


Ex.  58. 


d=to=t 


I 


S$Ef=^ 


S>  .        ^ 


\^=ii: 


ri 


■^^■ 


at?: 


IS^ZZ^ 


EEtS 


^^T«rtg^,.j 


a 


-^:^r^ 


.cSiz^ 


Ex.  69. 


3^^^^ 


d=d 


^^i 


'■i—^-^- 


-\—^r- 


d2: 


zfc 


4=3 


-W-^- 


d=:=4: 


I^E^ 


^_._^ 


:$.    ^ 


^^m-- 


F=^=i 


^ 


life: 


4== 


:t=: 


rferi 


i 


:=t 


i 


E-g 


Har.  Third  Reader. 


25 


Ex.  60. 


>^ 


.-4J-Jh- 


-^^ 


:c2:' 


ri  I '  [ — ^T-i 


Ex.  61. 


!=3=#===5^ 


S 


3S^^: 


=|: 


=|: 


fE5=H#*|iBE^ 


3^=^-:E3^H^i 


^ 


1 


Ex.  62. 

3 


Ex.  63. 


Ex.  64.     Chart  Ser.  F,  page  15  (second  line). 


^^^ 


:g_^ 


^^-- 


i^ 


j=-i 


j-i 


I  I 


gpEp'EE^iP^^ 


i 


EB 


■c^ 


-^-*- 


3^^^^ 


2^==Z3t 


J — Q 


^rt 


i 


J-J- 


<=-; 


£^ttL=«=Ssp=F^^F^^ip 


ig=3=3^^ 


— 1 ^     #     * *—#-*-;;>  '■* 


r^zizzfqi: 


*:zit 


*  Key  to  chromatic  tone ; 


:  i^=n-L.-Jm^ii^^j=3d^i^^^ 


Har.  Third  Reader. 


Sol.  la,  ti,     la,    ti,     do. 


T.a,  tf,    di,     ti.    dJ,      re. 


26 


PRAYER. 


Chart  Ser.  F,  page  15,  Ex.  2  (first  line). 


F.  SlLCHEB  (1789-1880). 

d \- 


i 


S 


1.  To 

2.  Free 

3.  Great 

4.  All 

5.  I 


:± 


p=p=^. 


a 
from 

Cre 
things 

have 


dore 

er 

a 

earth 

found 


T 

Thee, 
ror, 
tor! 

ly 

Thee, 


/• 

I 
Teach 
Make 

I 
Bid 
Lord, 


me,  Lord, 

my  soul 

am  formed 

from  me 

Thy  light 


I 

with 
like 
de 
I 


^- 


^ 


^=^ 


n 


pray ! 
in; 

Thee! 

part, 

see: 


Let 
Let 
Make 
Let 
All 


me 
me 
my 
Thy 
is 


walk 
feel 

joy 

ho 
fad 


be 
'no 
the 

ly 

ing 


fore 
ter 
great 
spir 
round 


^^g= 


Thee 
ror 
er, 
it 
me, 


3Z 


^ 


i=|: 


i 


J: 


^ 


3E^: 


=t 


I 


f 


'f^^ 


r 


Hum  -  bly 

Though    be 

Let      me 

Dwell    with 

Still        art 


ev 
■     set 

ho 
-  in 
Thou 


'ry 
by 

ly 

my 
with 


day, 

sin, 

be, 

heart, 

me, 


bly 
be 


Hum  - 
Though 

Let         me 
Dwell     with 

Still       art 


ev     -  'ry 

set       by 

ho    -   ly 

-   in       my 

Thou  with 


I 

day. 
sin. 
be.  ^ 
heart.* 


i 


^ 


w^^ 


xsz 


:i1=:: 


^ 


Har.  Third  Rtadsr. 


27 


Rhythmic  Study  (Dotted  Note). 

Vocal  Drill. 

To  be  sung  from  different  pitches. 


0  L 


I_-I± 


Chart  Ser.  F,  page  7,  Ex.  1  and  2. 
Ex.  65. 


g 


B3S 


w=:i-- 


— I- 


-Id — ^^ 


;?==F= 


i^zizfef^ 


r=?t 


Do,  sol 

Ex.  66. 


do, 


ra^^s^^S^^^^^^a 


Ex.  67. 


^^^^m^^^^^^^m 


Ex.  68. 


la"      '-       :"■ 


32: 


3--f:^r=<=2-Pp=r=s 


3=2.3 


:^E 


do, 


Ex.  69. 


^^^^^^m 


'^^ 


t=±F^ 


tEEE±=t=:^&± 


t=F 


?3=^ 


?=2- 


-rS>- 


?=2=^: 


=I=- 


Ex.  70. 


I^e^^eSeS 


^i^^i^^^a 


i5^lSSii^l= 


Har.  Third  Reader. 


WW 


28 


Ben  Jonson. 
Con  anima. 


GIVE   ME   A   LOOK. 

(Canon  in  two  parts.) 


J.  Skbddok. 


:H3^' 


^=i=§ 


^Slli^ 


-■ip- 


H: 


-^-^- 


^    -1^ — « — ^^■ 
Give     rue      a    look,   give         me      a      face,  That  makes  sim  -  plic  -  i 


5^ 


g 


3 


!=i=^: 


:d; 


3 


3^^ 


i^d 


^^ 


W=^ 


-•-■*—* — ^ — ^* — -_^ — ^ 


i 


ty      a  grace ;  Robes  loosely     flow-ing,  hair    so  free,    Such  sweet  neglect  more 
cres. 


33=^ 


W 


--± 


^ 


3: 


t--- 


:4 


Sli 


i 


tak    -   eth      me      Than      all      the        sub    -    tie    -  ties        of        att ;     These 
/  dim.  D.S. 


II: 


0- ^- 


^ 


:=1=:J: 


^^^^=r^J^±j=j^^^ 


charm   mine   eyes      but       not     my      heart.     Give    me        a        look,     give 


i 


5rf  <w??e. 


::|: 


Co(Za.  pp 


/ 


i^— - 


:t=: 


S 


not         my     heart,     but        not        my      heart,     but       not 
PP  ,  f  > 


my        heart. 


d: 


It: 


i 


S 


charm     mine    eyes. 


// 


:t: 


2:2: 


1 


These     charm      mine      eyes,       but  not 

// 


my 


heart. 


■^ 


^ 


I 


d: 


? 


-<0-. 


*  When  the  first  voice  or  part  reaches  the  asterisk,  the  second  begins  at  the  beginning. 
In  going  to  the  Coda,  the  first  voice  or  part  leaves  out  two  measures,  and  the  second,  three 
measures,  of  the  Canon. 

Con  anima,  with  animation;  f,  forte,  strong;  ff,  fortissimo,  very  strong;  pp,  pianissimo, 
very  soft;  dim.,  diminiu^dn,  decrease  the  tone  power;  >- accent;  T).S.,  dal  segno,  repeat  from  :g:. 

H»r.  Third  Reader. 


HAYMAKING    SONG. 


29 


Chart  Ser.  F, 

page  6,  Ex. 

3  and  9. 

Alfred  Scott  Gattt. 

Qtiickli/. 

Ob 

1 

/)U^h-^    -1 

*t — ._, 

1 

—^ 

— i-«— 
— 0 — '^ — 

zi^zz 

— ^— ^ 

P— 

^^^^— J — 

-^ 

r— J 

■w 

1 — ^ — 

— ^— 

I 

LI — 

> 

w 

1.    Boys 

and  girls. 

come 

out 

to  - 

day. 

We 

must     go 

a  - 

2.  While 

the  bright 

warm 

sun 

doth 

shine, 

Rake 

the     new  - 

mown 

3.  When 

the   bright 

warm 

sun 

is 

out. 

Toss 

the     new  - 

mown 

4.    Now 

that      it 

IS 

fair   ■ 

■   ly 

dry. 

Let 

us      pile 

the 

5.    Load 

the     wag 

-   ons 

with 

the 

hay. 

Lead 

them     to 

the 

6.      If 

you    want 

hay 

sweet 

and 

fine, 

1 

Make 

it     while 
1 

the 

/ 

/ 1 1^    r 

iw         1 

"  1 

^ 

x^-i2:fe 

__S__j_ 

1^ 

— ^— =)— 

~ia^ — 

^         J 

ji — ii=^ — 

—0 

wt 

-> 

— -J 



— > 

1^ 


d*^ 


t 


t^ 


t 


:± 


^ 


m 


mak  -  ing  hay,  Heigh  -  o ! 
hay  in  line.  Heigh -o! 
hay  a  -  bout.  Heigh  -  o ! 
hay-cocks  high,  Heigh  -  o ! 
stack  a  -  way.  Heigh  -  o ! 
sun   doth  shine,  Heigh  -  o ! 


Heigh  -  o ! 
Heigh  -  o ! 
Heigh  -  o ! 
Heigh  -  o ! 
Heiofh  -  o! 


out 
rake 
toss 
pile 

to 


a-  mak  -  ing 
it       in    -  to 
it     well      a  - 
the    hay- cocks 
the  stack      a  - 


Heisrh  -  o !     while    the     sun    doth 


hay. 
line, 
bout, 
high, 
way. 
shine. 


^ 


t 


W 


~0-^ 


iE^z 


Ex.  71. 


=}: 


3 


I 


^: 


q^=P 


-x^ 


-kJs ^aa^ 


Ex.  72. 


il^fe^^^^^g 


m: 


-q-n-- 


:g=--a: 


^E^ 


t±Jt 


^-^ 


J  fi 


Har.  Third  Reader. 


30 


Chart  Ser.  F,  page  6,  Ex.  2  and  5. 
Ex.  78. 


n 


f=^ 


Ex.  74, 

4- 


w 


:2zi: 


^-^p 


i^^ 


1 J: 


-^- 


r 


J-.-J- 


j— ^1 


B==g^ 


i 


:::]= 


E5 


P2-^=E3=#^^3^ 


i^E^: 


!==Jb^=d: 


ISt 


■^ 


:P 


^221 


T^::^1 


:^ 


-p-"t 


=ii^ 


T — r 


I 


W- 


^—s^ 


^= 


g^F=j        4 L__^=^:1=S 


-^ 


Z^        -r^     y:^    ^^  -^ 


t 


3: 


A 


^ 


1 


12^ 


-S"- 


P 


T-=^=^ 


Many  exercises  begin  in  one  key  and  pass  into  another.     The  change  is  brought  about  by 
introducing  the  notes  of  another  key,  shown  usually  by  accidentals. 

Har.  Third  Reader. 


31 


LIFE. 


Chart  Ser.  F,  page  5,  Ex.  2. 


^  '^  u  T 

1.  O  pre-cious  gift !  O  might  mys-terious  Which  stirs  within  the  throbbing  breast ! 

2.  Then  let  us  all  with  glad  sub-mis-sion  Still  wait  on  Him    in  whom  we  live ; 


^  u  u  I    P  >  5  I    z>^  p  te  r- 1  "Z  T  T 


It'  -tir  -^  -tt   ^  '   -^-S^ii:    ^  3i  :iL  ^ 


;i 


n^ 


j^-jH- 


^ 


-j»i- 


-I- 


^s 


£=^^^ 


^^^ 


ps 


With  ear-nest  tho't  and  pur-pose  se-rious  "Rie  soul  must  view  the  boon  possessed. 
To  life  on  earth  its  full  fru-i  -  tion  In  life  im-mor-tal  He  will  give. 


S3^ 


^     ^    Ti^     -^    -1^     ■#•    ^     ■#■     V 


^ 


WHEN  LARKS  ASCEND. 


vyip-^T 

J- 1 — j^- 

1 H^ i ST- 

1 

/..w  vy  ^^      >k 

k.         J 

» 

^                                           1  "■ 

/>vP   t?     «             ^ 

1      p   «     * 

r      "■     •      «' 

1            J 

\sJ           M       -       1       1            ^ 

•  • 

"■  • 

1.  When 

2.  When 

3.  And 

4.  The 

war  -  bling   larks 
shoals     of      fish 
when      we      on    - 
depths     of       ev   - 

as  - 
in 

ly 

'ry 

cend 

si  - 
lift 
hu  - 

on    high     With 
lence  swim,     To 

a  thought  Of    p 
man  heart      To 

joy 

us 
raise 
Him 

-    ous 
all 
or 
are 

: 1 

i?=^i=^ 

— 1 f 

=^ 

—^— 

=? ?= 

Ez \—^ 

«j         ji 

4     -^    -^ 

•  • 

•  • 

p 


lays.       The  Lord  who  rules 

dumb.      To    ears     di  -  vine 

love,       By      it       our  full 

known ;  And    we     our  long 


f-- 


:(= 


in  earth  and  sky  Ac  -  cepts  their  praise, 
the  voice  -  less  hymn  Will  peal  -  ing  come, 
de  -  sires  are  brought  To  God  a  -  bove. 
ings  can     im  -  part     To  Him      a  -  lone. 


^ 


a^ 


t 


5 


nfcH: 


:Er 


m 


I 


Hv.  Third  Raadar. 


32 

Dictation   Exercises. 

(1)  Dictations  may  be  either  oral  or  written,  that  is,  the  pupils  may 
either  sing  the  tones  which  they  hear,  giving  the  name  of  each,  or  they  may 
express  the  tones  in  notes  on  the  staff.     See  pages  6,  7. 

(2)  Oral  dictation  may  be  given  at  the  opening  of  every  lesson,  while 
written  dictation  may  be  given  less  frequently  as  a  general  test. 

(3)  The  written  dictations  will  impress  the  theoretic  part  of  the  course, 
and  require  the  pupil  to  be  familiar  with  the  clef,  key  signatures,  meter  sig- 
natures, notes,  rests,  and  bars,  and  will  cause  him  to  examine  critically  all 
of  the  different  signs  used  in  music. 

(4)  In  every  class  there  are  some  whose  perception  of  tone  relation 
develops  very  slowly,  hence  it  is  well  to  begin  each  lesson  with  very  simple 
exercises  and  repeat  type  exercises  over  and  over.  A  majority  of  the  class 
may  regard  the  tests  as  very  simple,  but  the  exercises  will  nevertheless  be 
good  for  all.  Thus  —  Do,  Ti,  Do,  and  Do,  Re,  Do,  remain  a  mystery  for  a 
long  time  to  pupils  whose  ears  are  dull  or  imperfect.  They  can  not  tell 
whether  the  progression  is  up  or  down,  and  it  is  by  persistent  and  repeated 
effort  only  that  the  ear  is  at  last  made  to  detect  the  difference. 

"(5)  The  scale  is  always  readily  recognized  and  the  progression  down 
is  easily  distinguished  from  the  upward  progression.  The  arpeggio  Do,  Mi, 
Sol,  Do  in  either  direction  is  equally  easy.  It  may  be  well  therefore  to 
begin  with  these  combinations  if  the  class  lacks  experience  in  this  work. 

(6)  For  impressing  note  values  and  the  different  varieties  of  notation 
the  same  exercises  may  be  written  in  different  ways.  Thus  an  exercise  in 
I  meter  may  be  rewritten  in  ^ ,  or  a  part  of  the  class  may  write  the  exer- 
cise in  ^  and  the  others  in  |  and  the  notations  be  compared. 

(7)  The  exercises  in  rhythmic  dictation  will  be  found  most  difficult  to 
master.  They  require  the  most  exact  rendering  by  the  teacher  and  perfect 
attention  on  the  part  of  the  pupil.  Simple  exercises  should  be  repeated 
again  and  again,  and  the  more  advanced  exercises  should  be  reserved  till 
the  simple  forms  are  entirely  familiar. 

(8)  Occasional  practice  should  be  given  in  writing  complete  melodies 
from  memory.  The  Familiar  Songs  (pages  135-140)  are  good  material  for 
this  work. 

HV'  Third  R«ad«r. 


33 


Dictation. 


Note.     These  simple  dictations  should  be  repeated  many  times  and  used  in  connection 
with  the  more  advanced  ones. 

Major. 


i 


i 


w 


-^~7S 


^g-^- 


-S>^^—\\-^ 


^^a^ 


6  7 


-&-  -Gh- 


|^i|^=^^i^^|^^ 


"g~  n~g'~^  -;g— r|— g?— ^r-g?-g— gr 


I 


-<5^     -&- 


Minor. 
10 


11 


12       13 


W 


1^^ 


:fcEj2=^^^: 


zy- 


■g-p- 


-i5>-fi- 


tSi-    "(5^ 


-i5>-    -fi>- 


14 


16 


16 


^?^ 


17 


1 


j^=^H=^^^^^^~^=H 


-S'-    -1©- 


Chromalic. 
.18  19 


fF^  ^ftp-g-fr 


21 


P ^-tfgi:giil^_g^g:|^-g'-!;{g: 

22  28 


b: 


^ 


i 


-g^-"  tg 


24 


V^^^^3 


i 


i 


i 


tS»-+t^-«'-^- 


-K^ 


^-j^^-g>-^^=^T|-g' g-JI^-gj^gr 


^sr 


Rhythmic.     Write  also  in  S. 

25  26  27 


28 


itel^M^l^^g^l^:^!!! 


TFrtte  aZso  tV*  §  and  §. 


*fl 


80 


81 


14=:  :: 


uti* 


t-d: 


J^IHlEJ^JI^JgglH^ 


I 


Har.  Third  Raadar. 


34 


Rhythmic  Study  with  Chromatics. 
Vocal  Drill. 


'p^E^^^^ 


Chart  Ser.  F,  page  6,  Ex.  5. 


Ex.  76. 


i^i^^^^EH^E^^^Ppi 


Do 
Ex.  76. 

]3to 


la,      ti,      do. 


Ex.  77. 


S^=t=F 


Ex.  78. 


i^^Piig^igll 


g 


^ 


i 


Do     -       re,  do. 
Ex.  79. 


Sil^S 


± 


:»^ 


:q: 


:dt^S=b-S* 


B533 


af^ 


^#' 


Ex.  80. 


^=^m=^i^E^^ 


^: 


IjBZZ^ 


^P=i: 


^ 


^ 


Ex.  81. 


Ex.  82. 


i 


s 


S^li^^ 


ii 


w 


4- 


r 


^rr  r 


r 


Ifi^ 


I 


=1z=M.: 


^=*: 


M.-z±*=::f=bs^ 


■^^m^ 


3^^ 


ScALB  Ascending. 


l^^^^^m 


ScALB  Descending. 


Har.  Third  Raadar. 


35 


TO   THE   EVENING   STAR. 


(Study  in  Rhythm. 


Chart  Ser.  F,  page  7,  Ex.  2  and  3. 
Andantino. 


GABIj  Beikecke  (1827-        ). 


g 


«S=^-: 


iEME^.EE3»^^±EE? 


^ 


iijv: 


d*5=^-=^: 


^ 


In      the      sky        at       night   -   fall,   Rise,    thou     lo^e   -    ly      star! 


g 


3^ 


w 


:^- 


=^ 


i 


'Midst    the     star    -    ly      splen    -    dor    Gleam   on        us       from        far ! 


mf 


^E3^ 


d^ 


i^ 


:^=±: 


^=^^^E^ 


When   they   rise  in       the    heav  -  ens,       Or  when   they      de   -   cline. 


S=l=^= 


aEE=v 


S 


a 


None     of       all        thy  breth     -     ren   Wears      a     robe        like    thine. 


^E^. 


^^. 


5 


In       the     sky         at       night    -    fall,     Rise,   thou  love    -    ly        star! 


i^i 


E 


5li^3^^^g^| 


'Midst    the    stax    -  ry         splen    -     dor      Gleam    on       us     from       far ! 


Andantino,  somewhat  slowly  and  moderately. 

H«r.  Third  Raadar 


36 


Vocal  Drill. 

To  be  HmujfTom  different  pitches. 


TT^rrn 


Chart  Ser.F,  page  5,  Ex.  2. 
Ex.  83. 


Ex.  84. 


^; 


?; 


:e^£§ 


^: 


:2=— q^: 


^ 


*»-^ 


Ex.  85. 

1^2   ^ 

— #• — 

:  ^ 

— ,*■ — 1 

^                      1*           hm 

=„ 

-A — 

~l- 

1* 

-1 1 

^T     — +U-      1 . 

" 

f)^-r- 

=f=J 

-1 1 

f=r    j4=?5^-^ 

taE^ti^S^- 

Ex.  86. 


Ex.  87. 


=8_A_f_^ 


sii^ 


lez*; 


-^ ^- 


:p=^ 


2: 


33=3- 


=B^j3E^ 


S^^ 


-•-r^ 


i 


P3^ 


^t^E=^l 


The  lines  and  the  spaces  of  the  staff  are  called  staff  degrees, 
The  staff  degrees  are  lettered,  thus  : 


i 


-0-— A- 


==3=5^^^ 


E 1>- 


Har.  Third  Readar. 


87 


IN  THE   GAY   MONTH    OF   OCTOBER. 

Alfred  Scott  Gattt. 


^ 


^ 


1.  In      the  gay  month  of     Oc  -  to  -  ber,Mer-rj    chil-dren  up   and  down, 

2.  In      the  gay  month  of     Oc  -  to  -  ber,Rob- in     hop- ping  up   and  down, 


W 


^ 


^ 


^ 


1^—^^ 


^ 


rail. 


^^ 


^^=^ 


^^ 


*=9: 


1*=;^ 


^-Ji 


Red  cheeks  shin  -  ing   'mid  the  dead  leaves,  Such  a     glow  of     red   and  brown! 
Red  breast  shin  -  ing   'mid  the  dead  leaves.  Such  a     glow  of     red   and  brown ! 


P^=f= 


^ 


^^^ 


I 


^ 


=fE 


THE   FATHERLAND. 


A.  Methfessel. 


5 


:^: 


lo   thee,    our  dear  and   na  -  tive  land, With  hearts  and  voi-ces  blend  -  ing.  We 
The  land     of  frankness, faith,  andfame.Of    vir  -  tue, grace, and  beau  -ty, Whose 
Here  fraud  is  fet-tered,home  se-cure, And  peace     a    safe  pos  -  ses  -  sion ;  Here 


5 


^: 


i 


^ 


I 


^ 


i 


± 


zs^ 


sing,     a      loy  -  al      pa  -    triotband.  In   strains  of   love   un  -  end      -       ing. 
chil  -  dren  bear  the    fore-most  name  For   cour- age, truth, and   du        -        ty. 
jus  -  tice    ev  -  er    shall      en-dure,And      o  -  ver-  come  op  -  pres    -      sion. 


i 


I 


p^ 


5 


^^ 


^ 


^33 


=t=:t 


"Z=?- 


roll.,  rallentando,  gradually  slower  and  softer. 

Har.  Third  Reader.  ^1    ^   '•>   f  I    "v 


38 


Minor  Study. 


An  examination  of  the  close  of  many  pieces  of  music  reveals  the  fact 
that  in  the  major  mode  most  of  them  close  on  Do,  the  key  tone,  and  that 
in  the  minor  mode  the  close  is  on  La —  the  key  tone  of  that  mode. 

It  will  be  seen  also  that  the  approach  to  this  closing  tone  is  in  many 
cases  step-wise,  that  is,  with  no  skip  occurring  just  before  the  close ;  and  that 
in  the  major  the  last  two  tones  are  either  Ti,  Do,  or  Re,  Do,  and  that  in  the 
minor  the  close  is  either  Ti,  La,  or  Si  ( ^5  ),  La. 

Many  times  the  three  closing  tones  in  the  major  are  Re,  Ti,  Do,  or  Ti, 
Re,  Do  —  and  in  the  minor  Ti,  Si  ( ||5 ),  La,  or  Si  (  ^5  ),  Ti,  La.  The 
singer  must  expect  some  one  of  these  forms  at  the  close,  and  must  be  pre- 
pared for  it.  In  the  case  of  the  minor,  the  Si  or  j^o  is  a  very  necessary  tone, 
because  the  ear  demands  it,  and  without  the  sharp,  the  close  would  be  un- 
satisfactory ;  hence  this  tone  must  not  be  regarded  as  a  chromatic  tone,  but 
as  a  tone  belonging  to  the  minor  scale. 


m 


Major. 


Examples. 


S 


I 


^:?i=i: 


:fe={ 


s 


:2z:p 


^^ 


5^ 


i 


?=^==1: 


I 


2-f — gzzt:^^^(f=r 


Minor. 


sm^m^ms^s^j^sin^^mmm 


t 


::t=F:t 


I 


^^ 


E^3: 


Har.  Third  Reader. 


Minor  Study  ( Sharp  Five  from  Different  Tones ). 


39 


Vocal  Drill. 

To  he  aungfrmn  different  pitches. 


Chart  Ser.  F,  page  4,  Ex.  3. 

Ex.  88.  Ex.  89. 


Ex.  90. 


Do, fa     -     -     do,  si. 


Do,fa 
Ex.  91. 


'^S^ 


--^—^ — ^ 


t 


■id-^-F^ 


te^=^- 


Ex.  92. 

ill 


Ex.  93 


'm 


=r*!=4: 


^=t 


^; 


i*:^ 


i=^ 


i^zzat 


Ex.94. 


i^^^gfe^E^^p^Eg 


Ex.  96. 


Ex.  96. 


i^^^^S^ 


-J^ 


« 


«^ 


.^T- 


rr 


^^ 


i 


i^^.^g=^i^ii^^3=^g^%5d5EiJ 


The  clef  is  used  to  show  how  the  staff  degrees  are  lettered.     The  G  clef  (2b) ,  which  is  a 


modified  Gothic  G,  shows  the  position  of  the  letter  G.     From  this  the  letters  of  the  other  staff 
degrees  are  easily  fouud. 

Har.  Third  R«ad«r. 


40 


SUMMER    EVENING. 


Chaxt  Ser.  5,  page  6,  Ex.  8  and  9. 

A.  J.  FOXWELL. 

/ 


H.  Hoffman  ( 1842-       ). 


^^Efe 


*^qt=i: 


ny     rays   have  been   pour  -  ing      Floods      of     heat      on      the 

Clad        in      gar  -  ment     of 


1.  Sun 

2.  Cross     the     rich  -   ly    dressed  mead-ow, 


3.  Sweet     the    scent      of      the      elo  -  ver.      Waft   -   ed      far       on      the 


^. 


fi: 


S; 


^=^_^. 


3.=a.=g 


:=(«==; 


-Jr 


The  first  note  of  the  scale  is  called  the  key  note, 
the  key  note  occurs  is  also  the  name  of  the  key. 


The  name  of  the  staff  degree  on  which 


H»r.  Third   Reader. 


41 


Ie 


mf 


While  the 
There  the 
What  a 


_^__^ 1<~^^ ^~" 

sky        still         is  burn         -         ing 

breeze     shall       re     -      new  us, 

soul    -    fill    -  inff         treas  -         ure 


^j 


i 


ter 


s 


^ 


:i=Jt 


^3^ 


sky  . 
breeze 
soul 


"T^ 


Where      the 

Breath   -  ing 

Here  in 


5i  / 1 V 1-. b^ 1-. 1 


:-^ 


/ 


V  ^     1/  ^      r"'"=^^" 

Where  the  west  is  a  -    glow, 

Breath-  ing  life    as  it         blows ; 

Here      in  na  -  tare  is         found ! 


f^ 


\^  '^       ^       '•" 

Wea  -  ry  foot-steps  are 

There     the  cool   wa  -  ters 

Ev    -  'ry  sight    is        a 


:=l: 


::]^:^=f*: 


i! 


3 


W^^^ 


:j^— #- 


:=^- 


west 
life, 
na 


Wea  -  ry       foot 
There    the      cool 
Ev  -  'ry        sight 


K^- 


Where     the  rills    . 

Snig  -   ing  "Here 

Thrill   -  ing  joy     . 

P 


g 


f-= 


-T— 

turn 
woo 

pleas 


ing. 
us, 
ure; 


Where    the     rills    gen  -  tly       flow.  . 

Sing  -  ing,  "Here  lies     re    -    pose." 

Thrill  -  ing     joy,     ev  -   'ry        sound. 


When  we  speak  of  the  key  of  an  exercise  we  simply  mean  that  the  tones  of  tlie  exercise 
are  to  be  found  in  the  scale  beginning  on  the  key  note. 

The  unmodified  scale  beginning  on  Do  (or  any  otlier  succession  of  tones  which  gives  the 
same  effect)  is  the  major  scale.     The  scale  beginning  on  La  is  tlie  minor  scale. 

Har.  Third  Reader. 


42 


Major. 


'^^^^m 


Dictation.     (  See  page  32.) 
8  4 


1 


^ 


^tt:^ 


-G G- 


i 


7 


-iS-^^^—G- 


1 


i 


:fl 


w- 


-jzi 


-&—r3—-—& 


Minor. 
.9 


10 


-<»— 3?- 


11 


-(&-  -<&- 


(5^ 


12 


?=^Ei^i^^=il 


— 16 . 


14 


^ 


Chromatic. 
16 


17 


:gzj|g— ^]:}g 


-<5^  -S>- 


:^=^^Jez:^5i:^=tL=^if^^5=^: 


18 


I 


19 


20 


21 


SEEEEii* 


i 


fcl 


-<5^S>-<^ 


■a^kz^-o-^ 


r 


:£:Jte:S=5:|e:^ 


-fit-      -(5<-  va-  -<5^  "%■&- 


Rhythmic.     Write  also  in  8. 
22  23 


24 


m-ggS^ig^flggg^gEBijiJig^f^ggEH 


TFrtYe  aZso  in  a  a?j(Z 
26 


26 


27 


iliSSieiii^aiiigiisa 


Har.  Third  Reader. 


43 


Chromatic  Study  (Flat  Seven). 

Vocal  Drill. 

To  be  sung  from  different  pitches. 

te 


i^^^l^^pl 


Ex.  97. 


Ex.  98. 


te 


tf=4=± 


F=t 


5 


*F=*sdT=t 


i^ 


=>^-iaz|J 


Sol,  sol,     fa. 

Chart  Ser.  F,  page  10,  Ex.  1  and  2. 
Ex.  99. 


iS 


T^^m- 


t 


:g>-g^-:g=:^ 


Do,  do,    te. 


SfeSEE^: 


IW4    ^- 


?^^ 


^ 


'W=-% 


t=F 


Ex.  100. 


m^^^^^^-- 


=F=^ 


^ 


:dt=: 


i 


m=^s=m^^^ 


-■0 — J-  ^ 


a^5 


9 


^ 


Ex.  101. 


i^e^ 


9 


-=^:»d=* 


g 


F==* 


Do,     re 
Ex.  102. 


do. 


w^m^^^^^^ 


:t=: 


-<e— 


Ex.  108. 


Ex.  104. 


Ex.  106. 


I     LJ I ^    r      I r   I      ^^    I    I    III 


"^ii^^i|i^^^g3iS^#3J 


Har.   Third   Reador. 


44 


A  SONG   OF  THE  YEAR. 


Chart  Ser.  F,  page  3. 
Ellis  Walton. 


:i^==!^=^ 


3^ — •* f—  --T — -^ — ^—    T     ^ — \ 


*S 


4=k: 


-jizz±. 


What     a       hap  -  py     day       it       was,    In      the    lanes    and     hoi  -  lows, 


^# 


E^ 


^ 


3^5 


d*^ 


19-r 


=^=^ 


Ft^tt- 

^ 

1 

,^ 

—0- 

-f— 

zd*^ 

^f?] 

— 1- 

^^^ 

When 

we 

IS 

saw 

the 

Is 

first 

_     »r- 

young 

buds, 

-   ^ 

And 

the 

ear 

■ 

swal 

-  lows ! 

:J 

^- 

— h^ 

-^ 

:.  * 

~'\    — 

#' 

1 

— 

rj*^ 


-0- — -W- 


Hap  -  py    chil  -  dren, bright  and     gay,  Find   new   pleas  -  ure     ev  -  'ry      day. 


d^ 


^3^=3^gg=^Eg 


^#=3^ 


p 


:f-b^=r 


:t2: 


=l=H 


Hap  -  py     chil  -  dren,  bright  and    gay.    Find  new  pleas-ure      ev  -  'ry     day. 


;^^ 


^S^g^ll 


3^^3E 


Har.  Third    Reader. 


Minor  Study  (Sharp  Five  from  Different  Tones). 


45 


Vocal  Drill. 

To  be  stmgfrom  different  pUcties. 


Ex.  106. 


i^»i^^^^S^^ 


i^rin 


=^ 


J^^-^^ 


Do,     mi 


do, 
Ex.  107. 


*^*P^ 


Ex.  108. 


^m 


Do,  re,     di 


do. 


La, 


Chart  Ser.  F,  page  6,  Ex.  2  and  6. 
Ex.  109. 


- — H— I — ^^P^ — I        ^    ^  ^^     J-  -I hj— t^— 5 


1 


Ex.  110. 


^^^JE^^E^ 


IC#- 


i 


4: 


■i^ — ^ 


^ 


=1^- 


i 


E£ 


3^ 


:^!=:f? 


-^— ^ 


"S?- 


Ex.  111. 


Ex.  112. 


—0 — >i 


fafe^^4^^^ 


^ 


r   r 


P 


r 


F=± 


=ft 


1 


^^ 


±-^-^ 


-7^- 


IZ^ 


:c2: 


By  the  key  of  E,  we  mean  that  the  notes  of  the  exercise  are  to  be  found  in  the  scale 
beginning  on  the  staff  degree  lettered  E,  or  as  we  say,  beginning  on  E. 

H«r.  Third  Render. 


46 


STAY,  WEARY  WANDERER. 


Chart  Ser.  F,  page  6,  Ex.  6  and  6. 


F.  Schubert,  (1797-1828). 


Stay, 
Rest, 


S^^ 


=1: 


wea     -    ry 
wea     -    ry 


wan 
wan 


d'rer, 
d'rer. 


:::lt 


:=j=^-=:: 


here        with 
peace    -     ful 


us 


stay, 
rest. 


\^ 


=|: 


w^- 


i 


1:^=:^ 


=|: 


^ 


d^ 


3: 


1 "^ J-q-^- 


Leave 
Here 


for 
with 


a  -   while 
re   -   i)ose 


all 
and 


the 
en 


toils'        of         the     way."««My 
joy     -   ment      be      blest."  "  No 


d^ 


^EEEi^EE^ 


i 


l=? 


|eI^3^^ 


home         is       be   -    fore         me,    and 
rest  or       en   -     joy*  -  ment    my 


--^^^^mm 


ff 


V- 


t=t=^^ 


thith    -    er        I       haste,     For       I  ■ 
spir     -      it       can     know        K       I'm 


feE^ 


rail. 


w 


:t: 


It: 


tr- 


long       once        a    -    gain         all        its      \bless  -    ings       to        taste." 
kept       from      the      home     which     the       pliss       must      be    -  stow." 


i 


S 


lE^^. 


Har,  Third  Roadar. 


47 


£ 


^ 


^ 


/ 


So       pil  -  grims    on      earth  should   en  -    coun  -   ter       its       wiles,         Not 


^ 


35^35 


b 


:=^ 


rt^ 


:=1^ 


i 


^ 


^ 


^ 


V 


=#F 


:t: 


heed   -  ing      its       call,        nor         se  -   ^uced       by         its      smiles,        Still 


i 


*: 


s 


f«==l*= 


si »i- 


W 


:=t 


^ 


/ 


^==3^ 


press  -  ing     thro'   snares       and        al    -  lure    -   ments      to        rise  From 


i 


:fc=1t 


m 


-9) ^ 


^ 


a 


:^ 


i 


wan  -  drings     be    -   low  to  a        home        in        'the      skies. 


* 


^:=^ 


=3: 


-EEE3t3z=3 


-*- 


Har.  Third  R«ad«r. 


48 


THE   CHILD'S   PRAYER. 


I 


Chart  Ser.  F,  page  6. 
G.  Campbell. 
Slowly. 


T.  S.  Gleadhill. 


ffi 


afe#^^#^ 


Fa-  ther   of      all,  whoreign'sta  -  bove,  I     kneel  be-  fore  Thy  throne,  And 


a 


j^-i^—jjEi^^jfE^a 


^ 


^-[-^ — »- 


a=i 


^ — ^ 


fe^Ed^SE^: 


3t^ 


f— r— r 


^ 


f 


b2=«= 


glad     to     know  that    God    is        love,  And   claims  me      for     His      own. 


i 


w-^-£=^- 


3^£ 


a 


s; 


^^« -^.- 


s — z^ 


J=.i 


f — ^ i — F=T     1      ' 


±=n 


T^- 


i^&i^ 


:d=^ 


f 


T^r— t 


*=*^= 


r 


And  wilt  Thou,  Fa  -  ther,wilt  Thou  lend   An   ear    to    what     I        say  ?       Can 


i 


3^5 


iS 


3^ 


W 


w 


;i=ar 


-^ ^ 0  ^  *  ai — j- 


j-jn- 


a?i^: 


r — I — r — ; 

the  great    God     of  Heav'n  at  -  tend  When  lit  -  tie      chil  -  dren       pray  ? 


^ 


i 


I 


^3=^§^ 


-^^ 


Har.  Third  Read«r. 


49 


i 


Major. 
1 


Dictation.     ("See  page  32.) 

2  3 


1 


1^:^; 


P 


-6>— --22- 


-?g ig- 


-g— z?- 


-^-HS- 


-g-z?- 


7 


i 


i 


8 


p 


-^-z?- 


-Z? Z^ iTi  <s>  gr- 


-<9 6>- 


"zy 


-iS-— <s.^<&- 


-G>- 


sr  ■^- 


Minor. 
8 


10 


S 


i=i^^^=l^^^i^^^ 


r^~^: 


^— s^ 


-9—5,- 


11 


12 


13  ■> 


g: 


;b 


p- 


-«* g-ji^    ^    g'— H— «g-j|^— ^-^ 


1^^^^ 


Chromatic. 
14 


15 


16 


1 


^,'E=e; 


-s.-^- 


_^_.2- 


iii^-z?- 


:i^=^l 


:^— ;-5— '2- 


i 


17 


18 


19 


^ 


'MzJ2^?Z 


-g-g.      _    tg- 


§Ea^=^^ii=E=l 


'^jto     <!'^^ 


^    <V^     ^;fg-;g- 


Rhythmic.     Write  also  in  n. 

20  21 


^^^^^^^:^fm^^^^m 


Write  also  in  H  and 
23 


24 


i-J 


?i="55 


-F=*" 


i&15pE.ir^g=J:F^H 


Har.  Third  Reader. 


60 


Rhythmic  Study   (the  Catch  Note). 
Vocal  Drill. 


Chart  Ser.  F,  page  3,  Ex.  1  and  2. 
Ex.  113. 


f^JjJjJJj^.J^-J44^^B 


Ex.  114. 


fe 


:4: 


1^=1^ 


i^l-^-H^^^ 


=hf 


5i3d:*z±3i 


^ 


g 


Ex.  lis. 


^iS 


^^^^ 


i^E= 


:P^-(» — ^ 


U=ii^ 


^^^E^^ii^i^^^ 


I 


Ex.  lie. 


S^^^ 


li 


Ex.  117. 


l^ 


A ^  '    -0 — ■^- 


1^1 


*znz*: 


Ex.  118. 


r=# 


^-i— * 


i^^E^^ 


I 


-t^-^ 


W s^ 


i 


Ex.  119. 


r=# 


^: 


^^ 


-rrs^ 


-itizz^ 


I 


4       ^^ 


Ex.  120. 


y 


V- 


^.si 


^ 


Ex.  121. 


:4 


H=^F 


y .  J  ^j_ 


^ 


F= 


t^.J=i 


S 


'«=#: 


g^^F3=^Hpl^^ 


%k 


-J=2^ 


I 


Har.  Third  Re>d«r. 


61 


TO   A   BIRD,    SINGING. 

Chart  Ser.  F,  page  6,  Ex.  5  and  6. 


F.  Gabtz. 


fe 


^ 


-=t 


^§=^ 


How  sweet  the  notes   of  yon  -  der  bird  Now  ring  -  ing  loud  and  clear  !         To 


fe 


5 


l^H 


^^^ 


i 


:t: 


^= 


sym  -  pa -thy  the  soul      is  stirred, While  mu  -  sic     charms  the      ear.  Oh, 


g^ 


^=^ 


5-4-^ 


-* — ^- 


had      I     such     a    voice     as  Ihine,  So   rich,    so      full,     so       pure.  My 


$ 


S 


^m 


i^ 


^^ 


-■ml ^ 


:#*: 


^^^i^^^^p^^^^^ 


Mak  -  er's  praise  I         would  en-shrine,  And      ev  - 'ry      heart  al  -    lure 


i 


25 


I 


^ 


--^- 


-^-^- 


;-^ 


*— #- 


If  there  is  no  key  signature  we  know  that  Do  is  on  the  third  space,  or  C,  and  the  exercise 
is  in  the  key  of  C  major  or  in  the  key  of  A  minor.     If  tones  are  used  that  are  not  in  the  scale 
indicated  by  the  key  signature,  they  are'distinguished  by  accidentals,  and  are  called  chromatic 
tones. 
Har  Third  Reader. 


52 


Chromatic  Study  (Sharp  Five  from  Different  Tones), 


Vocal  Drill.       _____ 


^nr- 


Ex.  122. 


Ex.  123. 


Ex.  124. 


Ex.  125. 


do!  Sol,  fi.  do.  Sol.       fi. 


do.  Sol,  fi. 

Chart  Ser.  F,  page  4,  Ex.  1,  2,  and  3. 
Ex.  126. 


^^^^ 


-d=^= 


.^_^_ 


:^-*: 


-^S'-r- 


Ex.  127. 


^^m^m 


& 


m 


^^i^ 


-t=; 


:J=jii^ 


^ 


Ex.  128. 


gi^^^^^pipi^^^gi^ii 


Ex.  129. 


=1=^ 


:=rq=j-^-,--i-,-^ 


^^E^^^^E^ 


.d-H- 


^^ 


teg: 


ggg^l^gEgE^gg 


P 


:zi_ 


.^ — I 1 — I— ^ H4-^ — *^-*-r^ — 


Ex.  130. 


IS 


m^^ 


E^ 


:gi 


i 


^'^^J^\ 


— ^1 


I 


3^ 


!S 


:=1: 


-^- 


^=^ 


^ — 1^- 


^ 


H>r.  Third  Raadar. 


53 


PRAYER  FOR  OUR   NAVY. 


Chart  Ser.  F,  page  14,  Ex.  2. 
W.  Vkre  Mingakd. 

rnf  Moderately,      i         , 


F.  W.  Farkington. 


=3^^ 


i= 


J^J- 


S^^ 


1 — t 


g?  . 


r-t 


-.^ 


a  - 
low 
and 


1.  Thou  didst  make  the      sun  to  shine,  Heav'n 

2.  For  we    know  the      seas  do  stand      In 

3.  If  Thou  wilt.  Thou  canst,  O  Lord,    Sue 
vif                                                                                     cres. 


and  earth 
the    hoi 
cor  lend 


ig 


^ 


-^ — -^ 


:^— ^"TJ.- 


I^=d 


V-4^tJ 


?l* 


i 


^-- 


=^ 


r="r 


like         are     Thine ;        Thou 
of  Thy     hand;         AVeep 

help  af    -    ford ;  Let 


i 


didst    form 
ing       wives 
us        not 
cres. 


the         might 
and        moth 
im    -     pi  ore 


y 

ers 
in 


deep, 

dear 

vain. 


-fzr 


5 


^l 


^=S 


:*=:!■ 


122: 


i^i 


dim. 


Solo.     Slower. 


r 


i 


r — r- 

Thou  didst     bid         tiie 

Lisp  a     prayer       in 

Stretch  Thy    might   -    y 

I  ,  dim. 


-^ 


y^^ 


i^?: 


bil  - 
trem 
arm 


lows  sleep, 
bling  fear, 
a  -  gain. 


Lord, 


( Humming.) 


cry 


to 


I 


3^ 
--S-T 


W- 


-c*- 


^^ 


"#r 


i 


^^^ 


i=f^ 


I 


s 


-(S*- 


==^= 


Thee 


to       save 


Our      sail  -  ors       on 


the     storm 


irH: 


-■^' 


Et^ 


;^ 


Har.  Third  Reader. 


64 


THE   FUTURE. 


Chart  Ser.  F,  page  15  ( first  line ). 
Moderato. 


F.  H.  HlMMUL  (176R-1814). 


fe 


s 


i^ 


1.  Who      can        see 

2.  Fu   -   ture     days 


what      lies        be   -   fore  us, —  What       of 

for         us       are       hold   -    ins:       What       is 


m 


^^m 


5 


m 


-^ — >>• 


tt 


joy,      or  what   of.  woe?   Who  cau    tell  what  fate  hangs  o'er  us  ?  Nay, 'tis 
best     for    us      to    gain.     And  each  hour     is     on  -  ly   mold-in g  Link  by 


'4-9 


:^=^ 


zM-  4     * 


^ .    ^ — * — s  I J — -* — Ml-  rj .    s    ^  tt*-f      s     \^ 


-^—^ 


well     we     do    not  know.  Who  could  sing    a     song   of  glad-ness      If      he 
.  link     our    be  -  ing's  chain :  Links  of  grief  and  links   of  glad-ness,Links  of 


U 


% 


^^^^ 


-^-^-d-' — ^ — * 


^K 


-S—^ 


Moderato,  moderately. 


Har.  Third  Reader. 


55 


* 


^^^ 


:* 


^3* 


sS 


* 


J5=^ 


i 


knew  what  was     to     be,       If       he  saw     the  sights  of     sad  -  ness     That  his 
love     and  links   of   loss  ;  Links   of  song,  and  links  of     sad  -  ness.  Links   of 


tt 


m 


* 


^^^ 


^ 


"27 


.^_i_^ 


i 


y. 


rit 


=t 


P 


^ 


eyes        are       sure       to         see.        Bet  -  ter        far  to       live       un 

gold       and       links       of       dross.      And      the     chain,     what  -  e'er       its 


m 


m 


m 


dti 


-IS- 


m 


t 


j*=it 


5^ 


atz^ 


know   -  ing.      And   with  -  out  .   .      a      ques  -  tion    bow ;  Else     the 

length      be.      Reach  -  es       to     .   .     the     hid  -  den     shore ;         And    what 


i 


tt 


m 


m 


:ts=:^ 


.^_^_ 


roll. 


n 


m 


^^^^ 


^^m 


fu  -  ture   would    be  throw -ing       All      its    shad-   ows     on      us     now. 
e'er   may     now     its  strength  be,     Will    not  break     for  -    ev   -  er  -  more. 


^ 


^ 


^S^ 


^^^pl^ 


-(S>- 


9 


Har.  Third  Readar 


56 


GAY-ROBED   SPRING. 


Chart  Ser.  F,  page  12. 
John  Guakd. 


Felix  Mendklssohn  C  1809-1847). 


3%Ei 


F^: 


-t- 


:=t 


--t- 


d=:: 


:^t=:1: 


3t=]it 


m 


^ 


Gay-robed  si)ring,a -  gain   re  -  turn- ing.Rofvms  o'er   ev  - 'ry     hill    and 


^^^^: 


:^: 


="i 


d=i 


ixat 


/ 


%-^: 


:1t::t 


-* — ^- 


^^^^^ 


vale,      Ga}"- robed  spring,  a- gain  re  -  tum-ing,Roams  o'er    ev  - 'ry     hill  and 

r  -  - 


=1= 


d=^ 


::^=1=:=t 


^^ 


^If: 


sy 


=1: 


:=t 


33t 


i 


tt^ 


i3| 


^= 


:1=1= 


-^      s    Ix^ 


,W ^i^_J>L^ 


4==1: 


jp(z=i*=at: 


vale.    Her  -  aid    birds, her  reign  pro  -  claiming.  Her  -  aid  birds,  her  reign  pro  - 


m 


^»=^=^==i 


10 — wt 


^^^Fi3^ 


■^: 


::1=:=1; 


3 


-w ^ -1- 


pro  - 


/ 


te^g^^^^g^ 


zsz: 


claim-ing, Chant     a  -  loud  their  joy  -  ful        tale. 


A 


^^mm^ 


:d=i 


m 


w 


"P-- 


claim 


ing, 


Ctiaut      a   -     loud 


their      joy   -    ful 

Har.  Third  R«ad«r. 


57 


m 


i^ 


/ 


:i: 


-tisz: 


tt 


Chant    a  -  loud  their  joy  -  f  ul      tale, 


Chant    a  - 


3^ 


^1 


3^33 


tale, 


Chant 


n 


%^ 


i=E 


d=|: 


loud   .    .    their    joy 
diin. 


ful      tale. 


3"= 


*l 


loud    their    joy  -  ful       tale,      Chant     a   -   loud  their  joy  -  ful       tale. 


^^ 


;0 


THE   LORD'S   PRAYER. 


22: 


J   ,  J  I 


Our     Fa  -  ther 


r=t=p-*^*ir^-=r^r=p=^ 


which  art        in     heav'n,      Hal  -  low  -  ed      be       Thy 


EE33 


*-*- 


^- "-^ -■* 1^ 


^=4: 


i 


^^3 


rS- 


HEEi 


^ 


-S" 1 — &- 


w- 


-x.zs=± 


t:S: 


Thy     king  -  dom     come.       Thy     will         be     done        On 


=t=1: 


i=E^F^^E^=EEE^3:=^=E^E^ 


iE^ 


Slower. 


'^^^ 


¥=M^- 


-Gh- 


^ 


earth      as       it       is        in 


heaven, 


■±=.t 


our       Fa   -   ther,  our    Fa  -  ther. 


I 


w^^^- 


^=^^^^^^ 


-«=r 


Har.  Third  Reader. 


58 


Major. 
1 


Dictation.     (See  page  32.) 

2  8 


j£^«   <^ — =;;^:=g=5?=±|zs 


I 


-fi*-^ 


1 


i 


.,.  g  ^^  &> 


4                                                     5                         6 

7 

'  f                                                  11                       II 

II 

/                                            r?     II                       11 

11 

fr^tr?                           i-^ll                            it            /n 

^                             II 

v>          '^   ^   f^    ^  ^          II         ^^11         ^-  a   ^ 

c         •          li 

*J      .^.         »    '■    fi?-                 ■•  _^_  '■'    o*          _^_               &< 

^               ^  ^  ^ 

Minor. 
8 


10 


11 


i 


fl^g^g 


I 


^2-5»- 


-<5'-Z?- 


^i^it,,      ff- 


<g   |^g>      g     ■'    g     '^     "^Igr 


13 


IS 


14 


i 


-zHiis'- 


Y'.\^—e2- 


I^^B 


I 


e: 


-«?—«- 


<v  g- 


<SJ ^^— (g— '•'-<g-^lg     g 


(S>- 


1^  ^  ^     it^ 


-«- 


Chromatic. 
15 


16 


17 


i 


r 


-<g  g?  -vg— g: 


t      ry     ^—eSI^^^.^^ 


g— g— H     ^     f5>—0^ 


I 


18 


19 


i 


Di 


i=^^^^^ 


-!S>- 


:a=^iLg^^-  ^        g=ll=pz^g_-_g-i^=g= 


Rhythmic.     Write  also  in  ^. 
21 


22 


28 


^^^i^^^i^Sgi^^iD 


TTn^e  afoo  i»  8  and  « 


2  awtt  g. 


.ft 


26 


^^feH^^^gSSl^i^ 


Har.  Third  Reader, 


59 


OLD   TIME,    THAT   OWNS   NO    PAUSE. 

Chaxt  Ser.  F,  page  7. 


J.  8. 


S3^ 


^^^^^=1^ 


-*      rJ       ^ 


Old  Time,       no  pause  or  stop, Sweeps  on  with  wings  ol  fleetness,  And 


^ 


S 


3=* 


-K^-«-*— y-  r«1   X 


^ 


^^m 


-e=>- 


Old   Time,  that  owns 


fe^S^ 


-^l— *- 


tP=f 


love 


That  gives  life's  cup    its  sweetness.  If 


^ 


'9^P^^=^E^E£^^^^^ 


^^ 


-^ »— # 


ej       X     - 


And  love    remains 


the  cor*  (^al  drop 


i 


fc^-: 


=1*: 


It^Ei^BfeEEES 


tz«- 


^|it±i=5=8: 


t^^ 


^ 


homes. 


that  homes. 


None  but  the  bad  would  leave  them, 


S3^ 


S=l*: 


SE3^3^ 


w    ^ 


^-^ 


tit 


g*   ^- 


If  homes  were  all 


-* •- 

that  homes  should  be, 


While 


^^ 


I 


;i^==* 


5^ 


^ 


i^H 


While  hearts  that  love         to  love  would  flee,  And  discord  ne'er  would  grieve  them. 


i 


n 


=1^ 


-, ^ 


hearts, 
Har.  Third  R«>d«r. 


^i? 


=^— «- 


-*=:J 


m     m 


sz 


to  love 


60 


Chromatic  Study  (Progression  by  Minor  Seconds). 


Chart  Ser.  F,  page  8,  Ex.  1. 
Ex.  131. 


— 0 


&Ja 


*^ 


« 


^^^^^ 


Ex.  132 


i^^S 


Ex.  133. 


Ex.  134. 


ll|^^^ 


Ex.  135. 


:^P^^ 


^^^i^^^H 


Ex.  136. 


^i^^^^p^p 


:^d^ 


1^ 


fr?|^:i# 


^^— b^— b^ 


Ex.  138. 


=^^££F 


^asiiiSSSl^^^i^pii^ 


-^ 


^^ 


^^-i=^ 


^g 


=± 


^^gi 


-j — ^- 


,:t_it= 


^^-'-^t;^^-'^ 


,— =1- 


1 


Har.  Third  Reader. 


ABIDE  WITH   ME. 


61 


Chaxt  Ser.  F,  page  8,  Ex.  1. 
Henry  Francis  Lyte. 
Moderately. 

^ 1 ^— h=1= 


WuLLiiAM  Henry  Monk  (1823-1889). 


r# 


-J .4 


:s>:: 


-C2L 


1.  A 

2.  Swift 


bide    with      me!         Fast 
to        its      close        ebbs 


r 


falls       the 
out      life's 


e 
lit 


ven  -  tide; 
tie       day ; 


g^ 


^ 


3^E3 


■ir *- 


^- 


d=Fs!: 


t=Fd 


C I <— I 


f=f 


f=f    f^r 


The         dark  -  ness     thick    -    ens,      Lord,     with        me  a    -    bide  ; 

Earth's      joys      grow     dim ;         its  glo  -   ries        pass  a    -    way  ; 


:i 


3^5^ 


:=i: 


-■^^ 


-a- 


=3F 


-t 


^=^^: 


i 


:^: 


■r-^r 


^ 


II 

Help  of         the       help  -  less, 

O  Thou    who      chan  -  gcst 


oh, 
not. 


IZS 


P=P 


"rsg: 


T 

a    -    bide         with  me ! 

a    -    bide        with  me ! 


i 


^ 


^ 


^ 


-«^^      ^«>- 


221 


Har.  Third  Reader, 


62 


Vocal  Drill. 


Rhythmic  Study. 


Ex.  139. 


sg 


r-t 


lii^^^^^^^ 


Do 


mi,  re,  do. 


Chart  Ser.  F,  page  6,  Ex.  8  and  9. 
Ex.  140. 


-^H 


^f^g^^^g=£j^ 


S: 


Ex.  141. 


g 


& 


Sfe 


^ESEa 


^SpS^ 


r— f-g=^^3==t!3 


P=S^— i*— ^ 


Ex.  142. 


^^^P^^g^i^^^ 


Do,  ti 
Ex.  143. 


do. 


^^^^^g^^^^Sil 


Ex.  144. 


J..J^a=^=^Aj 


^ 


i 


'tt=*fff- 


li 


?^ 


^_^- 


f=^F 


i»ffi 


Ps* 


a> — r 


^3== 


3^X^t^ 


-2=^ 


J  J'    J"  J*  J*'   J    ,   *^     Triplets. 


Har.  Third  Readar. 


63 


GOD   OMNIPOTENT, 


Hbnbt  Kirk  White. 


i 


^^ 


5^i 


J L 


i 


^ 


3 


S 


fW^^^ 


^=t 


^ 


f 


m 


fe 


r  r 

le    Lord     our  God  is    Lord       of  all ;   His    sta  -  tion    who     can 

2.  He   smiles,   we  live ;  He  frowns,  we  die ;  We  hang    up  -   on      His 

3.  He     bids      His  gales  the     fields     to  storm  ;Then,when  His   thun  -  ders 


1.  The 


:=^- 


^■^r^ 


3^r* 


w^^=r^=T 


-• — ^ 


i^3=ji^i 


=1: 


f 


^^ 


f=f=r=r 


i 


r  r  T  •  ^ rrr. 

find?      I       hear  Him    in    the  wa-ter-fall;    I      hear  Him  in    the     wind, 

word ;  He    rears  His  might-y  arm   on   high,  We     fall    be  -  fore  His     sword, 

cease,    He  paints  His  rain-bow  on  the  storm, And    lulls  the  winds  to      peace. 


i 


|=#§^§^^e^^^^:jf^  ^—^--pL^- 


Chart  Ser.  F,  page  8,  Ex.  1. 
Ex.  145. 


te^E^ 


JI3: 


^ 


1 


^3^S^E^ 


^ — # 


IfcJ^ 


m 


P^m 


^^ 


I 


Q 


2^r=F=^ 


u. 


^m 


We  think  of  each  succeeding  tone  of  the  ascending  scale  as  higher  than  the  one  before  it. 
The  tones  at  the  top  of  the  scale  we  call  high  tones  ;  those  at  the  bottom  we  call  low  tones. 
This  property  of  tones  which  enables  us  to  distinguish  them  by  the  words  high  and  low  is 
called  pitch. 

Har.  Third  Reader. 


64 


Chromatic  Study  (Flat  Six  from  Below). 
Vocal  Drill. 


Ex.  146. 


Ex.  147. 


Ex.  148. 


gg^J^fej^JEHfe 


Sol,  le, 


izt 


-^-p** 


11=^ 


s^ 


:c2 


s 


■«:?- 


B 


Chart  Ser.  F,  page  10. 
Ex.  149. 


i=F=fe=4 


:i=q=i- 


h-lU-J^F 


I 


:4: 


=?f=-';^ 


3^J=^ 


^=^ 


-* 


Ex.  150. 


-ff*t-f 


^* 


1^ 


t^t: 


]==d--P 


:22: 


Ex.  151. 


ii-ifei 


3^ 


-^— :::^- 


:J=t 


r^i 


Ex.  152 


P^ii 


::© 


-«=!=l^ 


Ex.  153 


# 


^^^Hii^^^^p^^l^^ 


Ex.  154. 


■ffl^=^ 


> 


^=S. 


=#r 


-^-=^« 


p  1  ^ T     k     !    !    I       I 


^-9- '-^— i— ^1^— *- 


s — ■^- 


^ 


=* 


I 


The  pitch  of  tones  is  indicated  by  the  staff.  A  note  separated  from  the  staff  represents  no 
particular  pitch.  In  studying  the  representation  of  pitch,  therefore,  we  must  study  the  staff, 
rather  than  the  notes,  and  remember  that  the  note  is  placed  upon  the  staff  to  indicate  which 
pitch  is  to  be  sung  and  to  show  its  relative  duration. 

Har.  Third  Readar. 


65 


OHl    SKYLARK,    FOR  THY   WING. 

Chart  Ser.  F,  page  3. 
Felicia  Hemaks. 


J.  S. 


l^ 


i=^ 


-J=3t 


1.  Oh!    sky  -  lark,  for    thy     wing! 

2.  Free,  free     from  earth-born  fear, 

3.  But     oh  !      the      sil  -  ver    cords 


Thou  bird  of  joy  and 
Then  I  would  range  the 
That  round  the      heart   are 


tt 


^ 


i^=5^ 


w 


-* — - 


^ 


1.  Oh!     sky 

2.  Free,  free 

3.  But      oh! 


lark,  for  thy  wing! 
from  earth  -bora  fear, 
the         sil  -    ver    cords 


Thou 
Then 
That 


►H 


iS 


^? 


:?E=^ 


=t 


^-- 


light, 
skies. 


spun. 


-^=^-^ 


That        I         might  soar,  might  soar    ,and   sing.    At 
Thro'  the  blue,     the       blue,     di  -  vine   -   ly     fair,  Where 


From 


tie     tones     and  words.  And 


bird 

of         joy       and 

1 

would  range    the 

round 

the       heart     are 

light.       That         I       might    soar    and        sing,     At 
skies,     Thro'  the  blue       dl    -   vine  -  ly  fair.  Where 

spun,      From       gen   -  tie      tones    and      words,    And 


heav'n''8  em   -  pyr   -    e  -    al      height!  With  the   heath  -  Vy      hills        be  - 
low         mists  can       not  .   .       rise.       And    a      thou  -  sand     joy    -    ous 


eyes       that   make     our 


To  some   low,   sweet  nest        re  - 


^^r 


dl 


^^-J 


Har.  Third  Reader. 


:^=^ 


--^FT. 


:&: 


=f 


TTKa 


neath    me,    Whence  the  streams    in        glo 
meas  -  ures     From    my    chain  -  less     heart 
turn    -  ing,         How  soon       my      love 


ry  spring,         And 

should  spring.         Like 
would   bring.         There, 


^5 


^ 


-* -^- 


dim. 


S 


D.C.  vs.  2,  3 


i 


-0-F 


:e: 


EE=t 


iit 


£ 


pearl  -  y  clouds  to 
bright  rain's  ver  -  nal 
there     the    dews    of 


wreathe  me.  Oh,  sky  -  lark,  for  thy  wing ! 
treas  -  ures.  Oh,  sky  -  lark,  for  thy  wing ! 
morn  -   ing.     Oh,      sky  -  lark,  for    thy     wing  ! 


f^^: 


^- 


3^^ 


:b 


K 


l4=t 


-c^ 


THE   ROSY-CHEEKED   URCHIN. 


John  Orton. 

Animato. 


J.  8. 


ai^pE^^^s 


1.  The      ros  -  y  -  cheek'd  ur  -  chin     that  swings   on      the      gate 

2.  The      ros  -  y  -  cheek 'd  ur  -  chin     that  swings   on      the      gate 

3.  The      ros  -  y  -  cheek'd  ur  -  chin     that  swings   on      the      gate 


Is  a 
Hath 
Waves 


i^^^^35 


m 


:=^ 


3'=?=5^^it 


T^      -7^ 


^^^ 


:^ 


i^=:fc 


J^^ 


^^m 


~^^ 


t^^- 


:^=^ 


right  mer  -  ry   mon-arch  in      all    but   es  -  tate ;    But  treasure  brings  trouble,  what 

Na-ture's  own  pa  -  ges  up-  on  "him  to    wait;    His  joy- ous  com-pan-ions — a 
proud-ly     a  -  bove  him  his  satch  -  el    and  slate ;  The  sky   is     all    brightness, the 


i 


^e^ 


^^ 


:l^=:1t 


3'=^§^ 


=fE=:ts: 


--i^ 


D.  C,  da  capo,  repeat  from  the  beginning.     Animato,  with  animation. 

Har.  Third  Readar. 


67 


i 


d2: 


j^-» 


eeS 


E^Hpi^i^ 


ti  -  tie    is      free?  Thus  bet-ler  with-out  one, thus  hap-py   is        he  ;  .  .    For  the 
cher  -  u  -  bim  crew, With  po-sies   of    dai-sies  and  but  -  ter-cups,  too.  .  .     He 
fields  are  all    gay.  Green  branches  are  wav-ing,the  lambs  are  at     play ;       And 


E^^ 


3^^5 


^^=:J5: 


:it=3t 


^ 


^=^ 


^^: 


i^ 


-=^^- 


5^ 


^S 


■•■ — p-»-- 


:^ 


SS^^E^ 


I^^ZUgSZ 


ring  of    his     laugh   is  a  mirth-moving    strain,  Which  achoir  of  youngcreaturesre- 
boastsnotof     jewels  on     fore-head  or    breast,  But  his  heart  is     all    glad-ness,his 
where  is     the  bosom  that   pines  not  to       be         Thusbath'din   the    sun-light  as 


^6^^ 


^3^ 


s^-f^ 


-^^^. 


^ 


rail. 


^^^^^^ 


spond  to  a 
mind  is  at 
hap  -  py    as 


gam. 
rest, 
he? 


The     t)irds  are     all     sing-ing,  each  heart  is       e  - 

Oh!     what  are     the      hon  -  ors,    the    glo  -  ries   of 

For  the  heart's  pur-est     pleas -ures  (we    find  when  too 


B — ^-te 


^^ 


->    r*  -j^ 


^ 


:tz=: 


D.G.  vs.  2,  3. 


late  With  the  ros 
state,  To  tlie  ros 
late  )     Dwell  with-in 


y  -  clieek'd  ur  -  chin  that  swings  on  the  gate, 
y  -  cheek'd  ur  -  chin  that  swings  on  the  gate  ? 
the    bright   ur  -  chin   that     swings  on     the   gate. 


j^ K ^ 

t—-^ 1 ^ — 


i 


^ 


=*: 


^m 


•^-^ 


H«r.  Third  Raadtr. 


68 


Major. 


ZSl 


-t^-  -<Cf-  -(5>- 


Dictation.     (  See  page  32.) 


-g  ^  ^  a-&- 


II 


-s>-        -&- 


<g   _  f'''- 


g  '^   '^s> 


i^^H^^i; 


<s>——'^-&- 


-■g-g- 


g 


Minor. 


10 


11 


12 


I 


:pr 


i 


3^^^;=^ 


:EI 


13 


14 


15 


:||5=^z^=^ 


■&-WS—&- 


fe=te=^^i^=J^-g  * 


l^i^zzfef^zif^ 


;b 


Chromatic. 
16  17 


18 


19 


20 


M^        ^-|:j=^^=fe'— z^|^|^-z^^-g-^^-*g^^^-g— ^1^-^   i ^>zis:| 


:^^^iusM:r^ 


21 


22 


23 


^-_^_^-^^_^^4^_^ 


-g    ,    g- 


•g g- 


:|^=^|^_^jg_^^_jg_g-|^ 


Bhythmic.     Write  also  in  2" 
24  25 


:teggg^lgEflrgg|g^lgiH3^ 


TTri^e  aZso  t?i  3  and  3. 
27 


^^m^i^3^^mm^^^^mi 


^t^ 


Har.  Third  Reader. 


69 


Chart  Ser.  F,  page  12. 
.William  Wordsworth 


TO  THE  CUCKOO. 


k    1^ 

cuck   -  oo !  shall      I  call       thee  bird,      Or      but       a  .  wan-d'rins;  voice  ? 

hill       to      hill       it  seems    to     pass,     At     once  far        off      and    near, 

bird,    but     an        in    -  vis  -  i  -  bio  thing,     A     voice,     a  nij-s    -  ter  -  y. 

uu    -  sub  -  stjin  -  tial,     fair     -    y    place;  That     is  fit  home      for  tiiee. 


MI^^Z 


1-:IJ 


Har.Third  Reader. 


^^' 


70 


0  LIGHT-BEARING  STAR. 


C.  H.  FiSCHEB. 


Andantino. 


^= 


1.  O  light  -  bear 

2.  Like     thee,     be 


it 


I 

star, 

mine 


^m 


Thou 
Un 


rid    -    est 
clond  -  ed 


zB- 


± 


S 


S^iS: 


-*— *- 


H= 


a 

to 


^ 


1.  0 

light 

■     bear 

-    Ing 

star, 

Thou 

2.  Like 

thee, 

be 

it 

mine 

Un- 

m 


'^=0^ 


tax, 
shine. 


P 


^^S^l^^i^ 


Re  -  splen-dent 
And    gain     for 


in        beau  -  ty, 
m}"^     guer  -  don 


n 


r— f 


P 


A      queen      in        thy 
Ap  -  jjrov   -  al       di  - 


-^m 


rid    -   est 
cloud  -  ed 


a 
to 


C — 
far, 
shine, 


Re 

And 


splen    -    dent    in 
gain  for    my 


beau  -  ty,         A 
guer  -  don      Ap 


\±-Ji 


wm^^^ 


car.  Re  -  splen  -  dent     in  beau  -  ty,       A        queen     in  thy     car. 

vine,  And  gain       for       my         guer  -  don      Ap  -  prov  -  al    di  -  vine. 


n 


-^- 


rj: 


^ 


5t       * 


a 


^r^ 


queen   in    thy         car, 
prov  -  al    di    -    vine, 


A 
Ap 


queen, 
prov 


a  queen  in.    thy       car. 

Sill    ap     -     prov  -  al       di    -  vlue. 

Har.  Third  Reader. 


71 


ARIEL'S   SONG. 


WiLIilAM  SHAKESPBARE. 


s 


:^=t2 


-fc>» : 


Where  the    bee  sucks,  there  suck     I ;         In        a    cow  -  slip's  bell     I       lie ; 


:ft=^ 


=1t 


4:=,b=iP=3i=i 


^^^^==J 


3t=3t 


^3^ 


r^-b 1 

A  . 

,^ 

r               ^-             -| 

if- ^ 

^~ 

=U 

— 1< -s 1 

-^■^ 0             M 

There      I   couch  when  owls    do     cry. 

n     Hi 

On 

—^ 1^ ti^-J 

the  bat's  back 

1 f^ p. ^^^ 1 

I       do       fly, 

^'^fc'^ N 

1^ 0. : 



^ h- 

w 1^ j 

w — ^^-=1^— >  ^ 

P P 0- 

— ^ ^ 

—ha — 

■  ?=*     ii 

— bI — b-J^ ^ 

V^ « ^         ;^ ^ 

1 — 1^_ 

^ 

i—m — ^^ K 1 

^^^M^ 


Ait  -    er   sum-mer,    mer  -  ri   -  ly,        Aft  -    er    sum  -  mer,  mer  -  ri   -    ly. 


i 


*=»=* 


P: 


3tz-*=:*: 


z^:it=^^ 


Mer-ri  -  ly,  mer-ri  -  ly,  shall    I  live  now, Under  the  blossom  that  hangs  on  the  bough. 


^^^i^^P^^^-3^3^^^^ 


Har.  Third  R««d«r. 


72 


Rhythmic  Study. 


Vocal  Drill. 


Ex.  155. 


^ — 1-^ *■ — 


^i 


Do,  sol 


Chart  Ser.  F,  pages  6  and  7. 
£z.  156. 


Ex.  157. 


SH^^igl^sa 


a 


►rfirf: 


^^^ 


Ex.  158. 


Ex.  159. 


p^gp^^gapi^gipg^^g^n 


Do,  la 
Ex.  161. 


*»- 


2^ 


-7^ 


E^I 


ii 


122: 


=^2= 


IS?: 


]] 


Ex.  162. 


i.5^=J: 


9 ;^- 


3^ 


12^ 


«^ 


Z5: 


12^ 


-<S' j^ — <s>- 


73- 


'^ 


r-=F=r- 


\ 


'f^^=^- 


-jr:^ 


12^ 


i 


-f=2: 


1 


:?2^ 


-t== 


:zs?^ 


]] 


Each  line  and  each  space  of  the  staff  is  called  a  degi-ee,  and  each  degree  represents  a 
certain  pitch.  Many  attempts  have  been  made  to  s6ttle  upon  a  standard  of  pitch,  which 
should  be  accepted  by  musicians  in  all  countries,  but  the  results  are  not  entirely  satisfactory 
as  yet,  though  the  variation  from  the  standard  proposed  is  but  slight. 

H»r.  Third  Reader, 


73 


GOD  BE  OUR  GUIDE. 


i 


Chart  Ser.  F,  page  4,  Ex.  4  and  6. 

Moderato.  mf 


Fkanz  Abt. 


-4- 


3^3= 


^=d==5 


^=^=?±^ 


IS^J 


t:5?2: 


1.  God  be 

2.  Work      that 

3.  Might  -    y 


our      Guide,     His 
we        pur    -   pose 
to       bless      from 


help 

ev 

day 


IS 

'ry 

to 


sure ;  In 
hour  Can 
day,        Till 


S 


^ 


-=1 


I 


^=i=^ 


-z=>- 


I 


W 


;i 


mf 


--¥-- 


^- 


Him 
pros 
life's 


per 
brief 


hope 

on 
liffht 


shall 
shall 


rest    . 
through 
pass  . 


r— 

se  -    cure. 
His      power, 
a     -      way, 


His 
Our 
He 


i 


5 


w^m 


-^- 


cres. 


sue  -     cess       can  bring;     This 


strength  a  -  lone 
souls  His     gra    -  cious      pres  -  ence  seek ;     With 
gives  and  takes,      and   .  works    His    will.       We 


prayer  from  ev 

joy   -     ful  lips 

pray,     and    bid 


this 


^ 


:3^=^ 


^^^^ 


/ 


'rm^^m. 


p 


f 


t=hH=:^: 


lieart  shall  spring,  God  be 
prayer  we  speak,  God  be 
heart     be      still,        God        be 


T — r- 

our  Guide,  God  be 
our  (iuide,  God  be 
our     Guide,     God        be 


-jzatL 


•-(^-r- 


our  Guide, 
our  Guide, 
our     Guide. 


i 


==t 


^^^i 


^ 


■S'-r- 


i 


Moderato,  moderately.     =*  accent. 
H«r.  Third  R««d«r. 


74 


LORDLY   GALLANTS. 


Chart  Ser.  F,  page  3. 
Geokob  Wither. 
Cheerfully .  ^. 


Db.  Callcott. 


=l=i 


— ^ — '^—T\-^-\ — 

1.  Lord-ly   gal-lants, tell  me  this,  Though  my  safe    con   -   teat    you   weigh  not, 

2.  Bound  to  none  my  for-tunes  be,     This    or    that    man's   fall     I        fear    not ; 


ww-^-lf^^- 


i^^ 


^ 


'^^- 


^^'^53 


-■^—■a- 


wm 


WM 


\ J- 


^__ 


d=i 


B 


f^- 


Z^ZI^J 


f=S^2=.]p 


In    your  great- ness  what  one    bliss      Have    you    gained 
Him    I       love   that   lov  -  eth      me,        For      the       rest 


:(SZ=sz::j.=J: 


r 


33 


that    I       en 
a     pin       I 


i 


P^=^=^=^ 


^^1=s^ 


'-^- 


d=i 


-?=?- 


'j^i 


----* 


1^^^= 


:?2: 


5^ 


f=f=t?^^ 


s^^3^ 


f- 


joy       not?    You  hare    hon  -  or,     you  have  wealth;        I     have  peace,  and 
care      not.      You    are      sad    when  oth  -  ers    ch'aff.        And  grow  mer  -  ry 


i 


r=i: 


:=1: 


^ 


as  they  laugh;      I    that  care  not    and  .  .    am.  .  free,     Laugh  and    'weep  as 


:|s==1 


1^— J^-PL-J^ 


-*- 


-jLzuii 


^ 


Har.  Third  R«ad*r. 


75 


i 


care     I      take;     All 
pleas-eth     me ;        I 


the  day     I     mer-ry,mer-ry  make,  And    at       night  no 
that  care  not  and  .  .  am  .  .  free.    Laugh  and   weep  as 


:t 


:^^=1: 


Pcdti^ziltit:^ 


^^^^- 


•*- 


-i^—^—mr~r^-d     S     ^—d- 


■:X 


1^     ir 


^- 


^^ 


-jzH 


a 


mam 


care        I         take, 
pleas  -  eth        me, 


g=g^T 


122 


m 


And      at  night     no        care         I  take. 

Laugh    and       weep      as        pleas  -  eth         me. 


Ex.  163.     (a)    Major. 


4^J j— rJ-4 


(6)  Major.       Minor.        Major. 


II^P^^^^^eeI 


I  The  terms  major  and  minor  refer  to  the  effect  which  certain  tone  combinations  produce 
on  the  ear.  Whenever  we  hear  a  major  effect  we  think  of  the  key  tone  or  Tonic  as  Do,  or  one 
of  the  major  scale.  Wlien  we  hear  a  minor  effect  we  think  of  the  key  tone  or  Tonic  as  La, 
or  one  of  the  minor  scale. 

Major  and  minor  effects  are  frequently  combined  in  a  single  exercise.  When  this  is  done 
two  principal  methods  are  open  to  the  writer.  (1)  He  may  adopt  the  La  in  the  already  estab- 
lished major  scale  for  his  key  tone,  or  (2)  By  means  of  chromatics  he  may  give  the  effect  of 
La  to  the  tone  which  was  his  Do  in  the  beginning.  The  first  method  produces  what  is  called 
the  Relative  minor.     The  second  method  produces  what  is  called  the  Tonic  minor. 

Ex.  163  (b)  illustrates  the  use  of  the  Tonic  minor  in  a  single  measure  (marked  Mirior). 

Har,  Third  Raader. 


76 


Vocal  Drill. 

Slowly. 


Rhythmic  Study  with  Chromatics. 

Quicker.  Rapidly. 


Chart  Ser.  F,  page  16. 
Ex.  164. 


^ii^^^s^^i^^si^sa 


Ex.  165. 


^fe^g^^^^ 


3^ 


1^=^=3= 


Ex.  166. 


^E!^^^S^^a^^^!^i^E^^£3^^ 


Ex.  167. 


^. 


S=£^ 


te3^ 


iil: 


I 


Ex.  168. 


r#: 


W^ 


i=^ 


ii:: 


It: 


SSf 


I 


Ex.  169. 


-I^-J- 


f^^ 


^ 


3^ 


.--I- 


:^p^ 


m 


w=S^- 


s 


a^ 


-* — *- 


^m^^^ 


I 

;0 


Note. — When  It  is  desired  that  the  tones  of  a  measure  like  this   F 


shall  be 


short  and  detached,  it  may  be  indicated  l^  placing  dots  under  the  notes,  thus  : 


Lfc?=*EB' 


or  by  using  notes  of  a  less  value  with  rests  after  them,  thus :  ^  j  m^'m^'  ■     The  rests  in 


this  case,  then,  simply  indicate  the  way  in  which  the  measure  should  be  rendered,  and  do  not 
cause  a  pause  in  the  music.  Children  frequently  suppose  there  must  be  a  count  or  a  beat 
for  the  rests,  but  the  rests  should  not  be  considered,  except  as  affecting  the  notes. 

Har.  Third  Reader. 


GIVE  THY  HEART'S   BEST  TREASURES! 

Adelaide  A.  Proctok. 


77 


1.  See       the      riv    -   ers     flow  -    ing        Down-ward     to        the       sea, 

2.  Watch    the      prince  -ly     flow  -   ers         Their    rich    fra  -  grance  spread; 

3.  Give       thy     heart's  best    treas  -  ures ;       From    fair     na   -   ture      learn; 


Q- r 

N 

r-^ h 

H— 

^ 1 1 

- 

>r 1 

*'       1~1       is" 

-—\       ^ — 1- 

~s 

P 1 — N- 

—  _^__!q_ 

X_^_ 

■*■—• J -J— 

-=1— 

-^ -« — W ;tJ— 

_^<Z^       =^ 

«- 

Pour 
Load 
Give 

f 

-  ing      all       their  i 
the       air       with 
thy      love      and 

'     f    3 

Teas  -  ures         B 
per  -  fumes,       F 
ask        not,         V 

r 

oun 
rom 
k^'ait 

-    ti  -  ful       and 
their  beau   -   ty 
not      a            re   - 

free ! 
shed; 
turn. 

V 

N 

— 

— 

55 

t^ 

; 

1 

p 


=1: 


T- 


i        k   "Lj     ^  I  ^ — 'I 

Hid  -    den    springs   a  -    rise ;  . 

Leaves  them  not          in  dearth. 

From     thy    lit     -     tie  store, 


i 


Yet, 

Yet 

And 


•   ^       I 
to    help 

their   lav 

the  more 


their    giv 

ish  spend 

thou  spend 


mg, 
ing 
est 


W- 


::»: 


3=ES 


^^ 


^—It 


^ 


:=t 


f 


mf 


rit. 


i—U^i 


i 


I 

Or, 
With 
With 


f 


^^"^f^r 


if    need 
fresh  life 
a    dou 


be,  show 
re  -  plen 
ble  boun 


•    ers  Feed    them  from     the       skies. 

ished        From    their  moth  -  er        earth. 

ty,  God      will  give     thee      more. 


I 


N-- 


^ 


i 


^ 


xr—^- 


Rit. ,  ritardando,  decrease  the  speed, 
Hv.  Thtrd  R*ad*r. 


78 


Minor  Study  (Sharp  Five). 
Vocal  Drill. 


3EE 


g-^^^SiE 


^^^m 


Ex.  170. 


Ex.  171. 


Ex.  172. 


Ex.  178. 


fefe 


m^^^^m^^m^j^^m 


Do,ti,-  do. 

Chart  Ser.  F,  page  15 
Ex.  174. 


La,si,    la. 


Do,  re,  ti,   do. 


La,   ti,  si,   la. 


2: 


4:2: 


:t=jt 


i^^i^i^g^ 


Ex.  175. 


^m 


■:=t 


SI 


'^^ 


3^ 


3fcZ,i:: 


^—"^ ^ 


Ex.  176.* 


m 


=t=x 


i^S^^ 


=|: 


S 


-^ ^ 


IE 


1^ 


I 


Ex.  177. 


i^s^^ 


I? 


Ex.  178. 


:?2: 


■^cz:^ 


1^ 


z!?zzzic2: 


trr 


i 


L-terrJ-gri: 


3H£ 


■^=2= 


:t= 


^^SS^^i 


*  Note  that  the  repetition  of  the  first  two  measures  makes  the  rendering  of  the  skip  from 
sharp  five  to  eight  entirely  simple.     Sinor  tJie  first  two  measures,  then  sing  them  again. 

Har.  Third  R*Ml*r. 


Ex.  179. 


iMS: 


4 


79 


^^-f^-j-jq^ 


3 


i^^^^ 


w 


L.-U 


?^ 


rr 


#^ 


^ziM: 


g=? 


DEATH  OF   THE  OLD  YEAR. 


Chart  Ser.  F,  page  8,  Ex.  2. 
Alfred,  Lobd  Tennyson. 


i 


J: 


i 


-T-*- 


---* 


$ 


mrf^ 


r  I'-tr^-p-^r 


r-^ 


Old  year.you  must  not  die,    Old  year.you  must  not  die ;    You  came    to    us     so 


i 


^^z 


-— «- 


5 


-*- 


^^^^M^^^^m 


^ 


read  -  i  -  ly.  You  liv'd  with  us      so  stead  -  i  -  ly ;  Old  year.you  must  not     die. 


i 


p^^^^pD 


^ 


When  sharps  or  flats  occur  on  a  staff  degree,  it  no  longer  represents  the  natural  pitch,  but 
a  higher  or  a  lower  pitch,  according  to  the  characters  used. 

H«r.  Third  Raadar 


80 


TO   THE   CHRYSANTHEMUM. 


Chart  Ser.  F,  page  5,  Ex.  3. 
W.  C.  Bennett. 


^ 


:ft=1^ 


m 


:^ 


A.  E.  Gaul. 


—=1—1 


:t^=^= 


1.  Wan  bright-'ner    of      the 

2.  Thou  com  -  est  when  the 
8.      O     lov'd    not    for     thy      sake      a  -  lone,     Chrys  -  an  -  the  -  mum.Chrys- 


fad  -  ing    year,     Chrys  -  an  -  the  -  mum,Chrys- 
rose      is     dead,     Chrys  -  an  -  the  -  mum, Chrys- 


ffi 


:=?s: 


;|: 


3=^ 


S 


S'- 


an  -  the-mum ;  Rough  tell-er    of     the    win -ter  near, 
an  -  the-mum  ;  AVhen  pink  and  lil  -  y    both  have  fled. 


Chrys-an  -  tlie-mum,Chrys- 
Chrys-an  -  the-mum, Chrys- 


an -the-mum;    Not  for     a  beau  -  ty     all    thine  own,  Chrys-an- the-mum, Chrys- 


|=zfs=zz^=1^p^ 


^zzaL 


1r->—^ 


-i^¥- 


^=4^ 


=3^ 


::^^=^ 


-J^. 


-^-^—w- 


:^f=tr- 


f± 


t- 


1=^^ 


:r== 


an  -  the-mum ;  Gray, low-hung  skies  and  wood  -  land  sere,  Chrysanthemum,  What 

an  -  the-mum  ;  When  hoi  -  ly-hocks  droop  low     the    head.  Chrysanthemum,  And 

an -the-mum;    For   fair  blooms  to  the  springtime  known, Chrysanthemum,  For 


^^33 


-!=^^ 


^^ 


The  difference  in  pitch  represented  by  two  staff  degrees  is  called  an  interval.  The  inter- 
val from  one  staff  degree  to  the  next  up  or  down  is  called  a  step.  The  interval  from  one  staff 
degree  to  any  other  not  the  next  is  called  a  skip. 

Har.  Third  Reader. 


8J 


7  7 

leaf -strewn  ways  with  thee  ap-pear!  Chrysanthemum,  Yet  will  I    love    to     see  thep 
dali  -  lias  lit  -  ter  path  and  bed, Chrysanthemum, Thou  bloomest  bright  in  all  their 
bright  hues  to    the  snmmershown, Chrysanthemum, For  memories  dear  of  flow'rets 


^^e^ 


fegg^^ 


u    r     k    k   k 

here.    Yes,  will      I       love       to      see    thee  here, 

stead,   And  back    re  -  calPst  their  beau  -  ty  fled, 

flown,    I       love  thee,    bios  -  som  -  er       a   -  lone. 


n-\^-J-^- 


m 


■^-^- 


Yes,  will     I    love     to    see  thee  here, Chrysan-the-mum, Chrysan- the-mum. 

And  back  re-calTst  their  beau-ty  fled,  Chrysan-the-mum,Chrysan- tlie-mum. 

I      love  thee,blos-8om  -  er      a  -  lone, Chrysan-the-mum, Chrysan  -  the-mum. 


a 


3^^ 


^^if^s^*^^^^^ 


Har.  Third  Reader. 


82 


Chromatic  Study  (Progression  by  Minor  Seconds). 
Vocal  Drill. 


T-i— *— t— »— r-^     !     j     |J=!-vl— I 


Ex.  181. 

—i- 


Ez.  182. 

Do,  ti,  li,  ti,  do.  Sol,  fi,  fa,  fi,  sol.  Do,  ti,  te,  ti,  do. 


Chart  Ser.  F,  Ex.  1. 
Ex.  183. 


Ex.  184. 


Sol,        fi,         fa,       mi.  Do,  ti,  te,  la. 


Sol, 
Ex.  185. 


m 


'M 


pZ^k3: 


3^ 


Do, 
Ex.  186. 


fiS^ 


ixat 


^ 


:i 


IZS'T^ZIIZ 


s 


Mi,       fa, 
Ex.  187. 


fi. 


^^^^^tffe 


sol. 
Ex.  188. 


do. 


?; 


La,         li,  ti, 

:^iij=pg=F^i.^_4-^  I H 


Fa,  fi, 


Do,  di. 


^^^^^^^^M 


Ex.  192. 


*t 


J=J: 


^^E^^: 


^11 


& 


22: 


f=P=^f=f4'-^ 


U 


-f 


^ 


'm^ 


*=& 


5E3: 


^ 


-* » 


152: 


Har,  Third  Readar. 


83 


Chart  Ser.  F,  page  8,  Ex.  1. 
Ex.  193. 


^^^^ 


i=:t 


L^_  M     !  = 


'       I        I       I 


'tsr"  -^-"l     n~ 


(S-Cfs: 


bp"^^ 

— H 

-*i — ^1 

rr\ 

lf^2 d 

L-^ — 1 

1 

hJ— i- 

L^_^_ 

.crli     .. 

Ex.  194. 


fcp^: 


S^=^r= 


122- 


/* isT- 


T-r-i 


:z5?: 


i^-1=^^:: 


-P- — m- 


7 


;0 


^^^^ 


iz=z1: 


•      -.^»-  -m-    -0-    -^    -^ 


^=-^- 


122: 


Ex.  195. 


1 — — t- — ^r r— I* — =^i — r~^^f 


fc 


m 


-<s»- 


f^F^F^^=^ 


^ 


Ex.  IM. 


iA 


ja^z:? 


=¥r^^f=^S'7i'l^^!P^?-^^^ 


i^^S^^ 


sa 


H«r.  Third  R««d*r. 


84 


Ex.  197. 


Chromatic  Study  (Sharp  Five). 

Ex.  198.  Ex.  199.  Ex.  200. 


g^iSH^ipapi^iiiiS^i 


Chart  Ser.  F,  page  15,  Ex.  1. 
Ex.  201. 


Ht^i^Si^pgi^pi^Sip 


Ex.  202. 


:3: 


3^: 


3i3E4 


i=i: 


^P^^^^i^P 


Ex.  203 

i 


m^=-Mtt 


:t:=P=E: 


S=P: 


Sz^a^£EffiEtE 


£^ 


-(^— 


s 


Ex.  204. 


S^ii#g^jf^g^:^^3^^P^pH 


Ex.  205. 


nm 


'-W=^ 


4^ 


:i=?^ 


^PE^ 


^:=d=:1=:-i=T-= 


TiL  '   cJ 


i 


Ex.  206. 


^SE!^ 


y=d= 


-j^^ 


=t=r- 


r-T 


^»^=^^ 


^^=i^ 


-r-1 


t==t 


sag 


E^ 


r — r^r= 


^ 


e: 


"^^F^^ ^' 


-M 


^r=\ 


-'^-x- 


i^^^|33^3 


If  La  instead  of  Do  be  the  key  tone,  the  staff  degree  on  which  La  occurs  gives  the  name 
to  the  key.     Thus  we  say  that  Ex.  203  is  in  the  key  of  B  minor. 

Har.  Third  Reader. 


85 


THE   FAIRIES'   DANCE. 

Chart  Ser.  F,  page  12,  Ex.  1  and  2. 

Lightly,  p  -«=r ,^ 

■J , — ^^ — I — ^-_.4— J— J — n 


F.  W.  FARRnTGTON. 


T 


■^^^ 


:=l=q 


--r^ 


1.  Fair  -  ies     we,      gay    and  free,    Light  -  ly     trip    we    o'er     the      green ; 

2.  Round   we     go,      fast     or    slow, Through  the  my s  -  tic   whirl   we      thread; 


mEi 


^-i- 


=1: 


=i=i= 


^1^^ 


^==* 


=ii^*-tt-^ 


7  r  r 


^@ 


r 


Vol -ces  sing,     ech  -  oes  ring.     As      we    hail     to-night  our  fair   -  y    queen. 
Here    or  there,  naught  we  care.  With   feet  shod     in   si-lencenow  we    tread. 


Moonlight  pale    round  us     is  glan  -  cing.  No  clouds  veil       our    f es  -  tive  scene ; 
When  day  dawns     we     all  will  van  -  ish ;  Sun  -  rise  warns,    we  must    a-  way! 


-^^ 


:=t- 


^ 


^==4r-^ 


:]^=^ 


i^ 


-R 


K 


f 


mf 

i-J-^'-J- 


cres 


J-J-Jl^^^ 


do. 


B 


?=f^ 


u  b«  ^    i^    I      I 


=t 


p=^: 


;c^=i 


tfc* 


Air  -  y  sprites,  mer-ri  -  ly  we're  dun- cmg.  All      is    decked  in       sil- ver  sheen. 
Mor-tals  come     mer-ryfays   to    ban  -  ish,  Night    to'  man     is      fair -ies'   day. 


% 


^ 


-^— is- 


5^ 


i=^^ 


^K-j-jj* 


Har.  Third  Reader. 


86 


Dictation.     (See  page  32.) 


Major. 


1 


1 


:^z^_i^-is? 


^-^-'S'-zp 


-5^»— ^— i5? 


€2.- 


:s=;^±±^ 


6 


7 


l^aB; 


i 


1 


~sr. 


ISL 


-tS>  °- 


-<5>-2»- 


-Sr-fi'- 


-(5> & «>- 


Minor. 
8 

i2; 


^^ 


10 


-g?  ^^ 


-gr-g' 


-g    g- 


1 


-sr-<S'- 


-sr-^- 


@^l=l 


■^   .ig- 


-fi'-ZT- 


.11 


12 


13 


& 


-«.—-- fi.— s, 


Chromatic. 
.14 


15 


i 


-i2_^_ 


1 


^Ttl^l^ S^W^_a^ 


^14  15  16 


17 


I 


=#^=^#^=^ 


18 


19 


20 


21 


I 


i^^l 


^_^-^|^^-^H '^-^gmgzdJ ^^=:gzftgz:giUi=^j|gi: 


Bhythmic.     Write  also  in 
22 


23 


*i3^i 


^ 


m^^^^^^w^ 


Write  also  in  s  a»d 
»  24 


gzzg — ^-^: 


i^ 


^S2 ,- 


^^^'H 


*  Melody  —  repeat  till  memorized,  then  write. 


Har.  T>>ird  Rsadat. 


87 


The  Minor  Scale. 


The  scale  upward  from  La  sometimes  takes  two  chromatic  tones  instead 
of  the  Fa  and  the  Sol.  Thus  the  scale  is  sung  La,  Ti,  Do,  Re,  Mi,  Fi  (#4), 
Si  (|:[5),  La  (6),  but  when  descending  the  chromatic  tones  are  omitted. 
The  four  upper  tones  when  Fi  and  Si  are  included  give  the  effect  of  Do, 
Re,  Mi,  Fa.     Thus :  — 


t=± 


^l^i^iii^^ 


Do,    re,     mi,       fa. 


Mi,     fi,       si,       la. 


Minor  Scale  Ascending. 


mm 


-:^—^ 


^^ 


:t=t 


:t^— I* 


W 


Minor  Scale  Ascending  and  Descending. 


:t 


Z-E^^^^ 


I 


? 


4=t 


=1=^: 


=tii-5 


:t 


=* 


^ 


sol,    fa. 


This  form  of  the  minor  scale  is  presented  for  the  first  time  in  this 
book.  Pages  1  and  2  of  Chart  Series  F  are  prepared  especially  to  impress 
this  scale  form  on  the  mind. 


Intervals  are  named  from  the  number  of  staff  degrees  which  they  include.  Thus  the 
interval  from  any  staff  degree  to  the  next  is  called  a  second;  the  interval  from  any  staff  degree 
to  the  next  but  one  is  called  a  third,  and  so  on,  thus:  — 


^^^^ 


■'^S^ 


Seconds. 


Thirds. 


Fourths. 


Fifths. 


f 


B 


Har.  Third  Raadar. 


-i»- 


Sixths. 


Sevenths. 


Octaves. 


88 


Minor  Study  (the  Melodic  Form). 
Vocal  Drill. 


Ex.  207. 


:^: 


^-4^-E: 


Ex.  208. 


Ex.  209. 

i2: 


Do,  re,  mi,  fa. 
Chart  Ser.  F,  page  2. 
Ex.  210. 


^^Jiliiiilp^i^l^ip^ 


Mi,  fi,    si,  la. 


La,  ti,  do,  re,  mi,  fi,    si,    la. 


^S^iiipii 


Ex.  211. 


ra^ 


Ex.  212. 


^fei^ 


5^^^ 


Ex.  213. 


:2=p=zS: 


:dt^: 


l=tl^t 


:e=s 


:t=: 


J^ 22- 


:b 


Ex.  214. 


i^^^^ 


fTj^J, 


^ 


^^ 


=*-"^ 


t.^ 


«it^ — III 


H^^ 


g33^ipi 


The  octave  is  a  very  important  interval.     The  name  is  derived  from  the  Latin  octo,  mean- 
ing eight.     Each  sharp  or  flat  in  the  key  signature  affects  all  the  octaves  of  the  degree  on 


which  it  is  placed :  thus  tfcfe  is  understood  to  mean  ^ffi 


Har.  Third  Reader. 


89 


GRACE   BEFORE   MEAT. 


Chart  Ser.  F,  page  8,  Ex,  1  and  2. 
Robert  Hekrick. 

\ — ^ 


i 


^^^^m-- 


i=E=i^=i='ii=^^Ei 


1 — I — r- 


f^- 


T— r— r 


T" 


=F-- 


r 


Here,  a      lit  -  tie     child,  I     stand,  Heav  -  ing     up     my       ei  -  ther  hand ; 


IE^= 


^ 


i^^^^^ 


3EE± 


-^ — :Jr-::^ 


—I — <s>- 


^ 


-J— J L 


J_^d_^ 


-i — r- 


1^^ 


1 — ^T— r 


W=^F=^^ 


-\ — r— r 


Cold    as     pad-docks  though  they  be,        Here  I      lift  them     up    to    Thee, 


^^e^i^ 


d=£^ 


-(S>- 


l7^¥                        F               ^ 

1  J    J    J-jq 

. 

r-r-r=!^M^-^ 

•       «»       •       • 

^"N=^ 

" 

For     a     ben  -  i  -  son    to      fall 

On    our  meat,  and 

on      us      all. 

^ipt-^- ,^_ 

1 

ip-i^-ti  ^i^^F^ 

— 1 1 4 1— 

u_^ ^        ^ ^— J 

y-^=F 

i=y 

Ex.  215. 


fi-^ ^ 


-jg '^ 


3 


i-r~l ^ 


spi 


H«r.  Third  Raadtr. 


90 


Chromatic  and  Minor  Study  (Progression  by  Minor  Seconds 
and  Melodic  Form) . 
Vocal  Drill.  *      • 


Ex.  216. 


Ex.  217. 


fe^ 


Sol,  fi,     fa,  mi,    fa,    fi,     sol. 
Ex.  218.     Chart  Ser,  F,  page  14,  Ex.  2. 


EJ^^M^^j^jJ^ 


Do,  ti,     te,     la,     te,   tl,    do. 


:¥-r- 


3E^: 


.^_^. 


Ex.  219. 


^^P^^i 


:fi: 


ii=^ 


^^^ 


i^zzat 


.Ex.  220. 


ii: 


1 1 1^=^ t^BBV- 


■'x^ 


p^^^P^^^ 


Chart  Ser.  F,  page  8,  Ex.  4. 

Ex.  221.  Ex.  222.  Ex.  223. 


Do,re,mi,fa. 
Ex.  224. 


^S 


Ex.  225. 


=^^^^^^^^^-§3 


Mi,  fi,  si,  la. 


P"^^^^ 


^4? 


Si^l^ 


^gg^l^^fl 


If  we  remember  what  we  learned  about  the  octave,  we  are  able  to  understand  why  the 
natural  is  used  in  this  case  where  we  wish  to  make  the  staff  degi-ee  represent  a  higher  pitch 


\t 


%}       SolT^,    sol. 
staff  degree  affected 


.     The  flat  which  is  canceled  by  the  natural  appears  on  the  octave  of  the 


Htr.  Third  R«ad«r. 


91 


SOLDIERS,  BRAVE  AND  GALLANT  BE. 

Chart  Ser.  F,  page  8, 


GlACOMO  GASTOU)!. 


1.  Sol  -  diers, brave     and      gal   -    lant      be.     Bold   -   ly    press     on         to 

2.  Bat  -  ties    o'er,     with     joy         and    glee    Dance     we     and     sing    right 


Ib: 


:^: 


-■=^^o=X- 


--=t. 


^^ 


J.    j^  J   ,  r    r    i^jL-j X 


i^ 


=^ 


-^zi=^=3t: 


la. 


^ 


t=t=t- 


vie    -    to   -  ry 
mer  -    ri  -  ly. 


5^^ 


:E 


Fa      la       la       la       la        la        la,       fa        la        la. 
Fa      la       la       la       la        la        la,       fa        la       la. 


^^^^ 


2^ 


■■>— 4^=:^z=:^ 


f 


—I  — -^ — 


fa 


la      la, 


la 

la 

la 

la 

la. 

0  b      1 

1 

1 

1 

1 

r*    1 

J 

r,  p    0 

1 

J 

^ — 

=?- 

J         m 

cr    X  " 

-r- 

-^ 

V~ 

— ^ 

-j»^-p— 

— •■— 

-^- 

:^ 

tf- 

—m — 

W — ^^ 

-v- 

-\^— 



Lt— ^- 

— s^- 

— k- 

1 

^         \- 

1 

fa 

la 

la 

la 

la       la 

la 

la 

la. 

Sol- 

diers, brave 

and 

n  h 

fa 

la 

la 

la 

la       la 

la 

la 

la. 

Bat 

, 1 

-  ties  o'er. 

with 

Vi  p      1                          11 

^ 

n 

/  ^j^--^ — . \—A— 

— « 

- 

* 

— * — ' 

Trr 

-J 

"~~[ 

fa 


la 


la 


la. 


f^^t^ 

— 1~ 

-> 

-^ 

l^_ 

-^ 

J 

gal 

joy 

#? — 

■   lant 
and 

be, 
glee 

Bold  - 
Dance 

— t^ — k* — F — 

ly     press       on 
we      and     sing 

to 
right 

-~-m^ — 
Y     ■ 

vie     - 
mer    - 

1 

to    - 
ri    - 

-1 ' 

ry- 
ly- 

— 1 

^'—^ 

— ^1t 

J — - 

i      -iL^.^— 

-J — 

-\-^' — 

_^ — 

—ni 

Har.  Third  Reader. 


92 


m^tftm 


fa 


? 


la       la 

J— H- 


-J \-^ 


-^ — t^- 

fa      la      la      la 


:F=P 


Fa     la      la      la      la       la       la,     fa       la       la. 


m 


^^ 


g 


r^^ 


:1t=1: 


la, 


n^n 


fa 


la     la     la 


la 


la 


la 


P 


■^ 


i 


:J-- 


4- 


J -I- 


mm^^m 


« 


1^  '                    '        1^  1^ 

la      la  la  la     la.   There    is  the    foe,      u  -    ni    -  ted       be.       So 

la      la  la  la     la.     With  wife  and  maid,  loud    we     will     chant     A 
ores. 


=1^ 


-S- 


zzt- 


:=1 1 m 


la. 


There      Is       the      foe,        u    -     ni    -   ted.       So     strike  your 
With     wife     and     maid,   loud       we      will    chant,     we      will 


--^ 


■t — 1 — r 

strike  your  blow   That    they  may 

long     the   glade,  May      heav'n      long 


/j -J^_l>— J -J—:. 

ff- — p — g — ^ — g-— q 
-up — ^— tp* — r — r^=i 


see      We    are    re-solved    on 
grant  Health  to    our  Queen,  and 


=^=zl>z=3^^ 


T-^t- 


:it 


1221 


blow, 
chant. 


m 


^2^-^-^^U — /— ^-^ 


i:^^^ 


P 


VIC 

lib 


^ 


r 


E 


T" 


re  -  solved 


r- 


to    -    ry.         We         are       re  -  solved       on 
er   -    ty.      Health       to       our   Queen,     and 


-r 

vie 
lib 


-r 


to    -  ry. 
er  -    ty. 


i 


m 


5^ 


Hsr.  Third  R«ad«r. 


93 


PP 


^M^ 


la. 


P 


T^ — 6^ — t** — ^ 


m 


■^ — t^- 


-^—^ — F— 


:d^=^^=:?^: 


f=r 


u'  i«^  k^  i^ 

Fa  la   la  la   la   la,  fa  la  la  la  la   la,  fa  la  la  la  la  la 


i 


w 


:^^=^=]^=^^c=t— ^=: 


>— h— 1^=? 


r^ 


•^— *- 


.^_^_ 


la, 


I 


fa  la  la, 
cres.   ^  ^   I 


W 


W^=W- 


T^  ^f 


fa  la   la, 

^  0    m  \  --J- 


:?e=w: 


k  ^ 


1^=¥^ 


fa  la   la 


u*  1/  I* 


-t»^6^- 


la,  fa  la  la,  fa  la  la,  fa  la  la,  fa  la  la,  fa  la  la,  fa  la  la,  fa  la  la. 


i 


::^^=:fci: 


::^d^ 


^ 


:^=^- 


-*— i#- 


::1t:?'- 


TP^*- 


:J*i=1^ 


^ 


i 


Ex.  226.     (a)  Jfo/or. 


(&)  Minor. 


^ 


W^ 


2 


^t,^ 


^=^ 


f^ 


:?^ 


-^-r^— ^ 


g^g 


^=1 


^Ei 


?3==1: 


:=1: 


S 


^=d^ 


^=E-: 


d=i 


Ex.  227.     (o)  Major. 


i 


:i=t 


{ 6 )  Minor. 


X3 


i 


P^ 


i 


m 


-7zi- 


Har.  Thifd  R««d«r. 


^ 


aE 


H 


n 


94 


WAKE  I  WAKE  I 


Chart  Ser.  F,  page  8 ;  page  8,  Ex.  1. 
Allegro  moderato. 


P.  vox  FroTow. 


fr-^ 


^ 


^E^ 


^ 


m 


-^ 


? 


-•q ^. 


1.  Wake!  wake!  Avake !  for    this      is  sweet  May   mom  -    ing,  All       are 

2.  Wake!  wake!  wake!  and  pick    the    ear  -  ly       vio    -    lets,  Sol      will 


K 


^■^ ^-^ 


P^E^^^=^|^ 


P^ 


id: 


^E^^ 


:=^: 


:j^q h-^- 


O- 


-^— i 


hap  -   py,      all    are     hap  -  py, bright, and  gay ;     Wake  !  wake  !     wake  !    the 
soon,   will    soon  with  -  in    your  win  -  dow  peep ;    Each     young      leaf    -    let 


1^  1      N  -q- 


^E=|^5E^-f=^3^^E^ 


^ 


^E^E^^E^ 


^3i 


i;-f-5^r^ 


=> — * — S—f-f" *—  -^ — * — * — »      J    a— 


rob-ins   all  are     sing  -  ing,        All    but      you     are  praising,prais-ing  May. 
is     a -wake  and   stir  -  ring,    May  morn  shines  too  bright,  too  bright  for  sleep. 


1 


^^^^E^^^SEEdH 


^^  ^   ^   -^    ^ 


^glg 


S 


*rdt 


:iS 


-^=^^g=q^^=^ 


I?  5?=* 


J  f~5  >  r    J    ^ 


Wake !  wake  !  wake !  the     trees  are  gay-ly     wav  -  ing,    Beck-'ning       us    with 
Wake  I  wake  !  wake !  for      this    is  sweet  May  morn  -  ing.      All     are       hap  -  py. 


i 


^^^^1^=^^^^^ 


^^ 


Allegro  moderato,  moderately  fast- 


Har.    Third   Reader. 


96 


^ 


t?£=t: 


-^ 1       ^       g~^ 


^0p^m 


'^■ 


^i^S 


out-stretched  arms    of        ev  -   er  -    green;       Come,    help,  find      young 

all       are      hap  -    py,  blithe,  and       gay ;  Wake !  wake !      wake !     the 


i 


W- 


nt 


:=d: 


3 


^ 


^Ei: 


:*: 


-*     \-^^     ^ 


^^^^^^ 


r^-.KJL^- 


— m- 

col  -  umbines  and    vio  -  lets,  Sweet  young  flow'rs  to  crown  our  Maj' -day  queen, 
rob  -  ins  now  are    sing-  ing.      All    but      you     are  prais-ing,prais-ing  May. 


i 


^ 


^^^SS^^^S^^ES^^^^: 


-Jt 


"•••♦-•*•    ^ 


Ex.  228.    { a  )  Major. 


(6)  Minor. 


to 


4: 


^5^ 


-=>-K=v 


f^p^^a^^ 


p:^^ 


Ex.  229.     ( o )  Major 


{ b )  Minor 


=1=^^ 


i=lFE3 


P 


^ 


iJi^^^^^^P 


=< Tjr 


i 


Hw.  Third  R«ad*r. 


96 


Chaxt  Ser.  F,  page  1. 
Ex.  230. 


m 


!       N      I. — .  \ 


-i^    ^ 


^'   <^=^ 


$^ 


^^^ 


4 


^ 


:^== 


PI 


^=^= 


~~i — i>^-j — \ 


5EEEJ 


aiJ:~T£B 


V- 


r 


E^i^ 


J  J    I        -ft  1,^,  I    ^-c 


-^r 


^ 


I 


i^ 


^^^ 


^** 


Ex.  231. 


=t 


:J=0- 


r^^J=-j==d=pd—^-=q 


p-^EE^f^^g^^EE^^Et^^^EE^f 


P^^E^E= 


e: 


=t^=F 


d^" 


:^-k 


IS 


*=F= 


.J. — 


■  £?■■.  ■ 


i 


^T-rQ^=e"r-f^r— * 


B 


£33 


^ 


«^ — *   '  "^    ^-^^ 


^ 


:^-^- 


Har.  Third  Reader 


*  Major. 

1 


Dictation.     (See  page  32.) 


* 


i 


i 


97 


I 


:^=s=^=2iis: 


-<»  ^  n  ^ 


^'^-^-rS- 


^ -«-- 


-<S>-  -<5>- 


i 


i 


^ 


p^ 


^    ^'gy    ^^'g'^     H <^    £»   ,j    _    <g   ^- 


-fi) «> (5^ 


-©.-^. 


ZSl 


Minor. 
7 


Si 


tr — 27- 

10 


(g»  g- 


;^^s= 


te-^ 


-zg-'g- 


i^^^^i^ 


-27-^- 


12 


11 


=s= 


l=^tf^=g=^=^i^^^fl 


ts 


-'g^-g'- 


(S^g- 


1=^ 


'S'-z? 


"g-ZT- 


■&—Tar 


Chromatic. 
13 


14 


15 


1 


1 


I 


i 


16  17 


g-#^^  ^  g^- 


^r 


-Z?5'5^ 


1 


^ 

-«>- 


-g-xa   g' 


P=^^£ 


"g^^ig     /g^g 


^iK 


lihythmic.     Write  also  in  j- 

18  19 


#^=^1^ 


-^^ST-g-ttzy 


f^ 


20 


iS^l^pl 


TTrt^e  a/.?o  m  g  and 
21 


22 


i^& 


■i^=^ 


^^^^^^Tff^^^ 


:4 


•P=t^ 


Har.  Third  Reidar. 


98 

Rhythm. 

The  study  of  triplets  should  lead  to  a  better  understanding  of  six- 
eight  meter  than  was  before  possible.  Thus  the  triplet  in  its  various  forms 
may  stand  for  one  half  of  a  six-eight  measure.  The  following  exercises 
may  be  expressed  in  these  ways. 


(&) 


« 


;0 


2(a) 


==*-<-•—*-? ^^-8 ' !=•-«-• —3 


T 


Esass 


^m 


(6) 


I — -v^  « \ — 0 3 — « ^^ 1 « ^ " 


'i^ 


i=3 


«<— 3- 


i^= 


(c) 


F:1: 


#8- 


^ — I — A- 


& 


--^^ 


lizzMi 


.qznq 1 :p 


3  (a) 


'^^i^S 


-• — ^ — ti 


^^=^^l?^-H 


!jf:g=:T^-i^i:fr=;:s=:::jvz:s: 


:N — i- 


^ — Pv— A-— 

- — m — d 


.  The  various  figures  which  occur  in  six-eight  meter  appear  on-  pages  62  and  90,  and  are 
sung  freely  with  one  beat  to  the  half  measure.  These  figures  should  be  carefully  reviewed, 
and  the  power  gained  should  be  immediately  applied  in  singing  all  subsequent  six-eight  exer- 
cises and  songs  at  sight,  with  two  instead  of  six  beats  to  a  measure. 

Har.  Third  Readar. 


99 


Chart  Ser.  F,  page  6,  Ex,  8  and  9. 
Ex.  232. 


3: 


*=? 


^^- 


II^ZI 


i 


Ex.  233. 


^M^^^^^^^m^m 


Ex.  234. 


i 


Ex.  236. 


rr^i 


=4-^— y 


^ii^S^^^^iS^^p^B 


Ex.  236. 


g 


z:#=^ 


Ex.  237. 


^3^- 


^.^^M^M^^m 


--=x 


m 


Rhythmic  Dictation. 
2 


^^N^ipppS^ll 


^p^Si^^s^i^P:^! 


Har.  Third  R««d«r. 


100 


p 


Chart  Ser.  F,  page  8,  Ex.  1. 
Ex.  238. 


a 


J- 


^^^iEE:~^ 


E^ 


:=]: 


f—r 


-0 -^ 


tm 


p«i=3=g^^@^ 


c^*- 


^^^w 


^=^ 


m 


mi 


zjr=iti 


f— r 


f=r-: 


:s5: 


^ 


PEEI^E^ 


■u*- 


3 


^^^^5^ 


.^ ^. 


-=3g^ 


3=g: 


-c^*- 


^ 


!:t?:s=i^^ 


i^E^: 


^^ 


B 


-'^-r- 


-*— 


^ 


9-^M Z^ 


fc^ 


^==:^: 


s>-i- 


-^ 


.._5 


^ 


Ex.  239. 


-* ^- 


T — r- 


ij5 !_j___J_J_,^J_J_J_J_-j- 


i^i 


EEEtpEEf£Ej.iEf. 


ips^— m^t 


^|Bi^=±^^ 


^ 


-s:^- 


1=^=* 


-^ «^ ■# ail 


-9-      ^       -t&' 


Wi 


tes 


-^ 1^- 


J-, ^- 


:^g.^-^-^s=^=g: 


i2^: 


^ ^ 


r— r- 


-•- ^ 


?=i 


:!= 


4=^ 


r — r 


i 


fel: 


l"^g^ 


^a^^ 


I 


m 


-^ — 0- 


-p-^' 


Har.  Third  Reader, 


101 


H.  W.  LONGFBLLOW. 

Lento. 
4L 


A   PSALM   OF   LIFE. 

(Study  of  Triplets.) 


Fkanz  Schubert. 


^3  V      3      •  — p  -^ 


1.  Tell  me    not      in     mournful  num-bers.    Life     is  but     an  emp-ty dream! — 

2.  Lives  of   great  men   all      re-mind    us       We   eanmake  our  lives  sub-lime, 


5i^g^^|gi^:^Mi^ 


"^- 


For     the    soul     is      dead   that  slum- bers,       And  things  are    not  what  they 
And,    de  -  part-ing,  leave    be -hind      us         Foot-prints  on      the  sands   of 


i 


:^zi3t 


^ 


seem, 
time. 


And     things      are 
Foot  -  prints      on 


~^ — 

not        what      they      seem, 
the        sands       of         time; 


■:^- 


ifi 


Life  is    re     -      al !    Life    is    ear    -     nest!  And  the  grave  is    not     its     goal ; 
Footprints  that  .  per- haps  an- oth     -     er,     Sail-ing  o'er  life's  sol  -  emn  main. 


g 


=a 


W 


-■'-d 


i^ 


ai 


I^^E^^g^ 


3: 


^E^:^ 


:ii^ 


Dust  thou  art,  to      dust    re-  turn     -    est,    AVas  not   spo-keu    of       the 

A      for  -  lorn        and    ship-wreck'd  broth  -  er.     See  -  ing,  shall  take  heart    a  - 


S^ 


:i^=^ 


*S^=I^^ 


soul, 
gain, 


3^ 


EE= 


Was 

See 


not 
inff. 


spo 
shall 


ken 
take 


of 
heart 


the 
a 


soul, 
gain. 


Lenio,  slowly. 
Hv.  Third  R«>d«r. 


102 


THE  LITTLE  FLOWERS  ARE  BENDING. 


(Study  of  Triplets.) 


AlB  OF  THE  17th  CENTUBT. 


u.  Moderate^  not  dragging.  ^  ^jZ 


1.  The        lit    -    tie  flowYs  are    bend 

2.  The     shrubs    tliat  fringe  the      niead 

3.  The      bird,    with  fold  -  ed        pin 


T=^- 


ing  Their  wea-  ry  heads  in 
ow  Are  nod  -  ding  to  the 
ion,    And        head    up  -  on       its 


^ 


^ 


^1^^=*= 


'^m 


:^ 


g  ? 


=): 


•f- 


iii^ 


While  guard  -  ian  stars,  at    -   tend  -   ing,  Their  watch  in    si   -  lence 
Be  -  neath  whose  friendly      shad   -  ow    They   rest     in   drow  -  sy 
own  -  ills:  niffht's  do   -  mm  -   ion.    And   slum-bers  in       its 


¥  W  ^  ^ 

Each       bud      has  closed  its        ten  -    der  eyes,  Se 

The  rus  -  tling  leaves  a    -   bove       theni  seem  To 

Pro    -    tect  -   ed        by  the    watch  -    ful  love  Of 


i^ 


=^: 


::^: 


--■t 


cure 
mur 
Him 


in       peace 
mur       in 
who    rules 


it      lies. 
a     dream, 
a  -  bove. 


Sleep, 
Sleep, 
Sleep, 


then !  sleep,  then ! 
then !  sleep,  then ! 
then!     sleep,     then! 


Sleep,        tlieut 


-^—5—^—^- 


Har.  Third  Read«r. 


i 


«: 


Rest,        my     dar     -  ling       chjld,  in  slum   -  bers       mild. 


103 


I 


3^ 


^ 


^^ 


^^^^ 


d^ 


-a- 


THE  HAPPIEST  HEART. 


John  Vance  Cheney, 
mf 


Geoegk  HKNitr  Howard. 


deed  were  done,  And  kept 
high  his  name  Time  will 
day    -    light    sweet.     And       left 


the 
not 
to 


way. 

tear         it         down, 
heav'n      the        rest. 


11 


I 


-«- 


Har.  Third  Raadar. 


104 


WOODLAND   VOICES. 


Apousta  Hancock. 
Not  too  loud. 


G.  Francis  Llotd- 

cres. 


^=£^ 


m 


1.  Oh  !  wake, ye    wood-land    voi  -  ces,And  wake,  ye     sleep  -  ing  flow'rs  ;  The 

2.  Oh  !  wake, ye    wood-land    voi  -  ces,  Re-sound  o'er  hill     and     dale;    While 


sum  -  mer  sun  -  light  glis  -   tens.    To    gild   the  morn  -  ing     hours.       The 
sweet -ly    sings  the  stream  -  let     That  rip  -  pies  down  the       vale.  Oh! 


bd? 


fe^EE^ 


3 


^ 


^ 


^@msmsmm^s$ 


mu- sic  of       the  play-ers   Is  ring-ing  far    and    near;     Oh!  wake,  ye  woodland 
wake,ye  birds  of    sum-mer,Your  slumber  time  is     past;  And  with  the  dew  -  y 


S?=j=^*j^^^ 


^~^^- 


--:^ 


^ 


=|: 


:J^=t 


EE 


f 


r=tT- 


voi  -    ces.  For  sum-mer's  queen  is       here, 
dawn  -  ing.  Your  glad-ness  comes  at      last. 


Oh  !  wake,  ye     wood  -  land 
Oh  !  wake,  ye     wood  -  land 


fa 


=3: 


^3=5^ 


^ 


:t5=t=1: 


Har,  Third  Raadar, 


106 


oh!    wake, 
oh!    wake, 


P 


■-=^ 


g=S 


zsimo^i 


vol 
voi 


ces,  For  sum-mer's  queen  is  here, 
ces,  For  glad-ness   comes  at  last. 


-=!-* 


f 


For  summer's  queen  is  here,        For 
Your  gladness  comes  at  last,      Your 


:1=t: 


5= 


^w:^=:J* 


=1=1 


-=»=^=> 


^ 


^—-^-9- 


Oh,wake 
Oh, wake 


i 


/ 


a 


iEESElEE^ 


;i 


IdZ 


-^— F 


fzfct^: 


<c?  . 


-^55- 


-'=>-^- 


sum-mer's  queen   is     here,  A  -  wake, 

glad  -  ness  comes  at     last,  A  -  wake, 


A    -  wake. 
A    -  wake. 


:J^F=^=p: 


^      1  X    w 


-o  .-■ 


-^-^ 


t 


Ex.  240. 


^ 


^=igTpd — 1-}-,— I    I  ^^_j+-ji=.p^ 


.__^. 


35-^ 


U" 


:c2: 


^-^- 


w^^m 


ri? 


r 


g 


^bS 


i^S 


;«=fciH:3^^ 


J=:W-i-g^ t±^'irT 


i^^^^^#^? 


i 


a 


I 


p 


St 


i^^ 


3EES 


^ 


3^=j.ity5^^|^ 


-^ 


Har.  Third  Reader. 


106 


SING   UNTO   GOD. 


Chart  Ser.  F,  page  6. 
W -r^    1 


ffi 


George  Oaket. 


^=^: 


i J j-p-]^J-^ \-r4 

i ? ^—  ^ — *=-^ ^ — y 


p=f=-"^^ 


t- 


^^ 


Sing        un  -  to 
mf 


God      with  the      voice 


of         mel   -   o  -  dy, 


P^5^=*a 


ici: 


-■# (S^ 


^:^ 


-*-^^ 


(ftm 


tt   -    ew   -    c?o. 


a 


s 


-^ 


--^1 

-M- 


r — r- 


r 


G5^f"=5 


Sing        un  -  to       God      with     the       voice 


of      mel  -   o  -  dy ; 


^d? 


Efc 


^^=g 


__^_.^ 


The 


H 


s 


.^/j_ 


It 


For      the    Lord      is      high,      and  great  -  ly       to       be      fear    -     ed, 


— r— F- 


ZC^LZJtL 


'^-=:X 


5^3 


^^^: 


a^^H 


:i 


=P 


:1=: 


Lord 


King 


i^^^^^^^^ 


The    Lord     is        King  o   -  ver       all 


the 


earth. 


Ei2=^ 


fczd: 


-jzii 


^; 


"C? — 
Har.  Third  Reader. 


lOT 


i 


m 


^ 


1=^ 


:t=tfe^rf:=^ 


Not 


vm  -  to  us, 


I    I    r    ' 

but      to       Thy   name     be       praise. 


I 


P 


EE 


:£E3 


A^=X 


-* — -tt 


for    Thou   art    faith  -  ful 


^ 


Pg=^ 


In      all     Thy  works. 


for 


fc's^ 


rW: 


d: 


=1: 


^ 


"^- 


-x—\-^x — r 


■2=t 


r 


for  Thou  art  faith 


ful      in  all         Thy         works, 


i 


i2=4 


itisi 


3^3E:r3 


^^ 


:5 


Thou 


art 


falth 


ful       in         all 


Thy  works,  in       all     Thy 


J. 


g^r'^ 


-J — ^- 


--» — ^- 


r— r— T 


"I — r- 


J= 


It: 


s^e= 


r — r 


all     Thy  works,  art      faith     -     ful      and    just     in      all    Thy  ways,      art 


i 


sg=j^^ 


w 


Efc 


"* — ^' 


EEEE2 


'-^- 


=1: 


#— ^ ^-^V-     ^     J: 


works. 


cre» 


ce» 


do. 


fei 


.J=p^ 


i:;7i [- — p-h[- 


T 

faith 


3S2: 


^r 


szc 


ful      and       just 


in         all    .   .    Thy 


ways. 


?ii2. 


-G>- 


-?=^ 


-S*^ 


-«^ 


H«r.  Third  Read*' 


108 


So    will     we     give  thanks, 


P^EEgEE^^ 


A 


give  thanks  'un  •  to     Thy     name, 

4 


^=^J=^ 


r^f^f^ 


/I 


So   will   we  give  thanks, 
/ 


give  thanks  un  -  to    Thy 


m 


■G>-i — 

-m-    -w    -w    -w 

So     will     we     give  thanks, 


give 


and        will 


J 1        I    |J ^—A-yrl 


.U. 


"^^^^^^^^m- 


-^—0- 


I 


name,  and  will   sing      of    Thy  good  -  ness  and   mer  -   cy.      So  will  we  give 


a 


1^ 


32: 


■^^ 


t=^=«Ml* 


^—^ — ^ 
thanks  un  -  to    Thy  uame,siug  ot     Thy 


fc=d=i=?rJ— J-J-^ 


will    sing, 


Will  sing  of      Thy 


ir:^ 


mr     ^    -- 


-^^ 


t^ 


W 


:?=*: 


^-^- 


-* — * 


thanks,  give   thanks  un  -  to   Thy  name. 


will    sing,  will  sing  Thy 


^: 


S=i=^ 


^^^ 


* — 5^ 


-0     m. 


-\r^ 


tar    .    dan 


do. 


~gy 


;0 


i± 


£ 


BEi^ 


^' 


C?2= 


^ 


good  -  ness  and    mer  -  cy,    world  with-out     end. 


^ 


men. 

/7\ 


-■d -d 


-^^ 


•2=> ^- 


H*r.  Third  Raider. 


109 


Major. 


Dictation.     (See  page  32.) 
2  3 


m 


1 


1 


1 


i 


w- 


^s> — II — &- 


-S,—Cr 


-g>    O 


<s>—H — <s>- 


-iS> — H — 15>' 


-^sr 


W 


#-^=^:=^H^^i^ig^^g^-i 


-G>-\\-f?'-r^-^ ^ fi'-H-!S-«2 


i 


-^  o~ 


Minor. 
9 


10 


11 


I 


m 


<s^y^  ^g    H-^g^l^gy-'g'- 


-g— ^y- 


?:^^=^2 


i 


12 

12: 


13 


14 


1 


I 


^ 


-^—s)- 


<^—  H — «-- 


ri    ^—3 


25^fr- 2?- 


<g-^|^g-'S— H— — 'S^gy-g^^^^- 


Chrcmatic. 
16  16 


17 


18 


E^S^l 


I 


Z?-\\-Z?-„    gJ   <5>-^^    a   gr 


d?^ 


d2s 


^i^*^    ~~'^~g^75~g^' I  ~ 


1K 


19 


20 


21 


22 


S^^^^g^Pfe? 


aiEgg;=H 


fell 


Rhythmic.     Write  also  in  ^  as  triplets. 


^-g-^^^-^-ST- 


I^^TT-T-N-rH^ 


24 


^^^g^ 


^S^^ 


-= — •— 


TTWie  t»  5  t»  triplets. 
25 


*.«: 


Jg^^^^^P^jjE^Higg^^^^B 


r^  rhythmic  exercises  should  be  sung  till  memorized,  then  written. 

Har,  Third   Raadar. 


110 


IN   WOODS   IS    PEACE. 


Slowly  and  soflly 


Fbanz  ABT  (1819-1885). 


1.  In      woods 

2.  In      woods 

3.  In       woods 


peace, 
peace, 
peace. 


and         in       woods  re 

and         in      woods  re 

and         in       woods  re 


:*: 


^ 


^ 


=J^ 


-i?^- 


E3 


=j==^z 


-> \- R— >-r 


-J^si 


'^f^'^^f- 


■>— . 


-V= 


pose.  .  .  The  trees'  light  mur  -  mur  the  foun  -  tain  knows,  the 
pose.  .  .  Come,  mark  what  beau  -  ty  the  woods  in  -  close,  the 
pose.   .   .      For       thee       the      sun       in      his     splen  -  dor  glows,        in 


^ — ■ 


0- — 0 — 0— 


W^^ 


3=3 a== 


Louder. 


^r-j^-^-^^ 

e;^— ^' 

-=i- 

~~^1 

P-I- 

H*^ 

— -V- 

-ip— f^^ 

foun     -      tain  .   . 
woods         in 
splen     -     dor  .   . 

~0— — m — 

knows ; 
close : 
glows ; 

^ 

The 
The 
And 

birds 
trees 
thou 

— 0 — 

M 
keep 
their 
may'st 

=ii: 

sing 
shad 
rest 

•  ing      on 
-  ows     a  - 
thee    with 

Ab\ — 1 A — y 

-^- 

1^ — 

-__|_ 

-h 

^ k, 

^Ji-^ W- 

:=1           ^ 

P — 

t-# — 

-^ 

-X- 

^^^T—^ 

Har.  Third  Reader. 


i 


mt. 


PH7     €*:    -^ — 

— ^ — 5— i 

ev  -  er  -  y  spray, 
round  thee  ex  -  tend, 
moss        for      thy         bed. 


"-^     T 

The    bees 
The   flowYs 
And  heaven's 


are 
their 
blue 


-H — 

hum 

o     ■ 

arch 


111 


i^^^E^_^ 


ming     the 
dors      to 


=t 


~^^^ 


-Jl=M 


whole 


of       the 


^ 


day; 


:±z 


•      r 

In     woods 


glad  -   den    thee       lend ;         In     woods 
roof         o   -    ver   -   head  ;        In     woods 


peace 
peace 
peace 


:±: 


N 


and  re 
and  re 
and       re 


*=^ 


■^"V 


slower  to  the  end. 


I  h        N         fe      S 

-^ — ^ — — — b-- 


;— g — >> 


pEE^EEp 


SJ: 


woods      is    peace    and    re  -  pose,  is    peace        and       re  -   pose. 


^^==^4. 


i=a^ 


H«r.  Third  Raadar. 


112 


Minor  Study  (Melodic  Form). 
Vocal  Drill. 


Ex.  241. 


Ex.  242. 


Ex.  243. 


^iit^^S^ 


I 


m-- 


=f 


Do,re,mi,fa. 


^^ 


^^-^ 


Mi,fi,  si,    la. 


Chart  Ser.  F,  page  8,  Ex.  3  and  4. 
Ex.  244. 


g 


^ 


^ 


r¥ 


i^ 


~* — ^ 


^^ 


^ — jit 


Ex.  245. 


m 


^ 


i^^i^^pp^ 


^it=#' 


Ex.  246. 


t 


^g^j^^^S^E^ 


^1 


P 


g^#=^ 


-^-^ 


b^, 


c=^4 


^^ 


^^^ 


Ex.  247. 


^ 


:^U 


m 


I 


3 


=t: 


P 


*t 


*-?* 


:#»t 


i 


Ex.  248. 


^- 


--1: 


i^ 


^ 


P=^ 


^m 


^^ 


n 


=1: 


^ 


^^ 


:i=H- 


Har.  Third  Reader. 


113 


Ex.  249. 


^^^^^m 


n 


a- 


=!!=—=«=  I*, 


1^ 


n 


^-^ 


I 


1 


a 


^^ 


Chart  Ser. 
Ex.  250. 

F,  pages  8  an 

— 1% >n 

a  12. 
—J 

^ 

rJ 

^-n 

1 1 1 

r-> 

J^^ 

i^^i— 

i     i~ 

— * 

0 
* 

• 
— _ «. 

:^ 

^ 

f) 

J-  c-^t 

h~ 

L—^ 

1 

t^ 

^ ' 

1 

^ ' 

V,  <^       fc_                    "     ' 

, 

/L  b '»       P 

r*     1       I 

^ 

J                S 

K 

irh"  £)      J            ih.         Ill              \- 

■ 

,    r 

r*       s 

§^-^-^*— 

__jj m — L_^ — 

^ 1 

^— 

«i — 1 

*  • 

L^J — 

-J^~^ 

Ex.  251. 


m^^^^m^ 


t=J: 


s 


i 


fc 


5=f 


=»: 


^=^ 


P3£: 


-2=>- 


U^_J_J^ri=r^TJ 


^^ 


I^ 


5 


-<s>- 


-(S>- 


n 


<:^ 


i 


IE 


^^1 


3^i^4d 


'^ ^ 


3f 


Har.  Third  Rtadar. 


-^■^n^ 


114 


Chart  Ser.  F,  page  15,  Ex,  1. 
Ex.  252. 

J 4- 


NlBLS  W.  GaDK     (1817-1890). 


^^4 


r=^ 


K 


|:^==1: 


^^^ 


iF4— *^ 


zj=g=3=t:^: 


:4==i 


s 


:3^£ 


:=1: 


^    4  V.  ^ 


^^^^ 


U  J-^J= 


?::SlS: 


gz-# 


:[=; 


i^E^^^feEEfe^i^ 


f^-=r=f^r=r=r=rr=T^n' 


i 


::^: 


^ 


-*->- 


^^=^^3^^^ 


* — *- 


^- 


J- 


:i 


p 


^ 


> — !- 


^3: 


40     '^,  K-J.   —I *— ^JZt ^ 


Har.  Third  Iteadtr. 


115 


HOW  THEY   SO   SOFTLY   REST. 

Chart  Ser.  F,  page  14. 


H.  W.  Longfellow. 


W.  T.  Deane. 


'Abe=^=3^ 


-H- 


r 


^-\^-^- 


-*—r=t 


d: 


:=j=L-i  = 


"r~ri 


3^3 


c:f 


"Mm 


1.  How       they     so      soft  -  ly    rest,         All,      all    the       ho   -   ly      dead, 

2.  And        they     no      Ion.  -  ger  weep,      Here,  where com-plaint     is        still! 


^=^^ 


d 


^d=:1: 


^ — h^— I — I ^^ — I — \- 


:r^: 


-23^ 


--:i=t 


d=:=l: 


3 


kk 


*-d J— j^-r-J ^ -i^-J_/j      J*       IS      J      J 


f=r 


Q 


Un    -    to  whose  dwelling   place    Now  doth  my  soul  draw   near ! 
And      they   no     Ion -ger   feel.    Here  where  all  glad-ness     flies. 


W- 


=\^=^T= 


g^?=Hz=jJ3=d=3^^ 


^^j=p:^E3j 


How       they    so      soft  -  ly    rest.  All       in    their      si    -  lent  graves. 

And        by      the       cy  -  press  -  es  Soft  -    ly     o'er  -  shad  -  ow  -  ed, 


#1=?^ 


inp 


"^♦^*" 


-(S>- 


rit. 


r 


-iS>- 


-tSh- 


'^^^=^n 


d= 


^W: 


Deep 
Un 


in 
til 


cor  -  rup   -   tion 
the      an    -    gel 


r  rs" 


i 


Slow     -    ly     down    sink 
Calls       them,  they    slum 


ing! 
ber. 


•%% 


w 


p3^ 


^- 


■T^   •:^   -^ 


=^ 


-^^-^ — H 


mp,  mezzo  piano,  moderately  soft 

H«r.  Third  Raadc 


116 


Chromatic  Study  (Sharps  and  Flats). 
Vocal  Drill. 


Ex.  263. 


Ex.  254. 


Ex.  255. 


i^^&^^^pl^ii^pii 


Do,  re    -     o    -    do,  ti,   la. 

Chart  Ser.  F,  page  15. 
Ex.  256.  ' 


Sol,  fi,   mi. 


1^^ 


;2=i- 


P^: 


H 


-t^ 


f=-T=F^=F^f=^^ 


Ex.  257. 


i 


:fr 


-1E=^ 


^i^^^ 


p 


S: 


-M 


Ex.  258. 


^^==gf=£^-3pE 


1=1= 


:^E^=pz=-^ 


:|=t: 


Ex.  259. 


Ex.  260 


-^T — r^r 


P==*= 


F=^=^^=g=* 


f 


-^-^1 


I     I 


rrr^ 


I 


:Sj^i:"SE 


Pi 


t=t 


-*-^ 


^^S?- 


?f- 


^  *■  icy- 


Har.  Third  R*ad«r. 


Rhythmic  Study. 


117 


The  advance  work  of  succeeding  lessons  is  carefully  taught  in  the  Drill 
Exercises  of  Chart  Series  F.  The  teacher  should  study  these  chart  exercises 
in  connection  with  the  lessons  as  indicated. 

The  success  of  this  presentation  in  a  measure  depends  upon  the  principle 
that  the  unit  of  thought  may  be  made  up  of  several  smaller  values.  Thus, 
when  in  two-four  meter  we  have  quarter  notes  and  eighth  notes  in  the  same 
exercise,  every  quarter  note  may  be  thought  of  as  consisting  of  two  eighth 
notes  united.     Thus  this  line  will  receive  a  perfect  interpretation  when  each 


ii^Piii^^l^^^ii^^ 


quarter  note  is  thought  of  as  containing  the  value  of  two  eighth  notes.  This 
is  not  saying  that  each  measure  should  receive  four  beats,  for  teachers  are 
warned  not  to  allow  four  beats  to  a  two-part  measure ;  but  as  the  beat  is 
given,  the  mind  should  bear  along  a  consciousness  of  the  content  of  the  notes 
so  that  each  one  shall  receive  its  full  relative  value  and  not  be  cut  short. 

Similarly,  when  this  advanced  rhythm  is  studied  no  perfect  result  will 
be  reached  until  each  quarter  note  is  fully,  realized  as  containing  four  six- 
teenth notes,  so  that  each  quarter  note  will  be  sung  squarely  as  07ie  tone,  but 
the  mind  will  conceive  four  subordinate  units  joining  to  form  it.     Thus  :  — 


loo  loo  loo  loo      loo  loo  loo  loo 


loo-oo-oo-oo 


^ 


loo  loo  loo    loo. 


In  marking  the  meter  the  finger  should  be  pressed  down  and  held  until 
the  four  tones  are  given,  and  then  raised  quickly  and  pressed  down  again 
for  the  second  four.  Thus  the  one,  two,  one,  two  of  the  meter  is  steadily 
sustained  while  the  rhythm  flows  freely  over  it,  as  it  were. 


Har.  Third  Reader. 


11« 


Rhythmic  Study  (Four  Tones  to  the  Beat). 


* 


Chart  Ser.  F,  page  9. 
Ex.  261. 


*B=: 


^ 


nt=5l: 


-• — *- 


^ 


^E^ 


m 


'i^^m. 


S^at 


^^jij^^fl 


Ex. 


iffi^3 


'^^^^ 


^ — '- 


■^n 


i^^^ 


ESE^ES3JE33 


-^5 


I 


[±Z= 


Ege=^^2^^^^^ 


}^=F 


^^^ 


Ex.  264. 


4-rz 


±=3t 


g 


P^ 


p=ft 


^33: 


:?2:3 


s 


Har.  Third  Reader. 


EVENING   PRAYER. 


119 


Chart  Ser.  F,  page  9. 
Moderato. 


F.  SiLCHER  (1789-1860). 


d^ 


Ci^T 


^^ 


fzz*t 


1.  When     I       pray         to       my        Fa     -    tlier,     IIow      sweet  -  ly  I 

2.  With    my       Fa    -    ther      be    -    fore       me,        Ko        foe  do         I 

3.  While  my       Fa    -    ther       is         with       me,      The        wick  -    ed      shall 


4.  Then, 


Lord,       in      Thy        keep  -  ing 


O 


let 


^ 


^^ 


-■=t 


'-■^^—.z 


sleep ! 
fear; 

fly; 

bide, 


i 


A  watch       o'er 

For  my 

For  sin 

My  Fa 


-  low  Bright  an      -  gels 

sup  -    pli     -     ca     -  tion  The  Lord  doth 

is        con  -  found    -  ed  When  God  is 

ther       in        heav    -  en.  What    -  e'er  '^q 


-^ ^^^ 


^=a^-^ 


^ 


Fi^ 


-0-  b     ] 

r 

1 

^ 

r 

n 

J=^ 

_&. 

...J  . 

1 

W-f- 

"1 

-?^ 

t— 

=f= 

=^=H 

'-K- 

-^^h 

tJ= 

1 1 

— ^ 

"H 

W — V— 

-V — 

l|_ 

b^ 

-V ' 

cr^ 

-^ 

'^r- 

zS 

r 

_u 

keep, 

A     watch 

o'er 

my 

pii- 

low 

Bright  an     - 

gels   1 

ieep. 

hear. 

For 

my 

sup  - 

pli      - 

ca    - 

tion 

The    Lord 

doth 

liear. 

nigh. 

For 

sin 

is 

con 

found 

-ed 

When  (iod 

is 

nigh. 

tide. 

zs 

My 

Fa    - 

ther 

in 

— ft— fr 

heav  - 

en, 

What- 

e'er 

be    - 

1 

tide. 

y^-^ 

P 

.-^     It 

t^ 

— P — 

-• 

^=*^ 

-J — 

* 

— 1 

•*• 

Efl 

H«r.  Third  R»»d«' 


A   watch  o'er  my 


120 


Major. 


Dictation.     (See  page  32.) 

2  8 


1 


i 


JZ- 


is: 


121 


1^-12: 


-^—zr-<5>- 


-s' 'g- 


"25^- 


*-»—&- 


i 


-&-  -G>- 

5 


-fS*-  -(5>- 

6 


1 


I 


-yrr-&-<^- 


w 


■^ — 15>- 


-z?— i^-'S^Z? 


-&-    ^ .  -&-  ^     -&-  -&- 


■^-  -&- 


-&- 


Minor. 


i=FB^^^ 


10 


i 


;i 


i 


11 


:^ 


-fS"- 


12 


vp  t/gy  g 


^ 


srv&sr 


13 


i 


1 


zsr. 


;^l6=^=g|^^^ ^'-g^g^^^^g^^J^^g---^ 


1^ 


^\'^^=a. 


Chromatic. 
14 


15 


16 


I 


1 


-^—7^&: 


;i;^— «- 


SEZ^zHk. 


::^-±l— s: 


17 


18 


-Z? — " zsr- 

19 


1^^^ 


■f^—^ 


^==g^;)gz;g===B^-|g=grg|^=£3^i: 


:^-^-=:i^=s 


Rhythmic.     Write  also  in  n. 
20  21 


22 


i: 


^-^piJi^^^^l^i^^i^aiH 


28 


24 


EM3^ 


i^^^m^*^^^^^^ 


The  rhythmic  dictation  should  be  supplemented  by  exercises  from  the  chart. 

H«r.  Third  Reader* 


THE   FLOWERY   MONTH   OF   JUNE. 


121 


Quickly. 

mf 


William  Jackson. 


3E5l 


^ 


^ 


m 


tr—Ci- 


? 


t 


^ 


1.  Oh !       the     flow    -  'ry  month       of  June         A  -  gain         I       hail  as 

2.  Oh!       the     flow    -  'ry  month       of  June!      My     heart       is       bound-  ing 


i 


■^ 


P*^^3^ 


gE^EEzEB 


g=^ 


sum  -  mer's  queen ;  The       hills      and       val    -    leys     sing     with       joy,    And 
wild      and     free,     As       with         a        fond       and     long  -  ing       look       I 


i 


W=^ 


d: 


IS: 


±.Lj:J- 


=^^=3= 

y-^ 


-4^- 


dim. 


i 


:S 


^^: 


P 


^g^ 


The       stream-lets 
With      all         thy 


1^ 


17 

flow         in 
thou  -  sand 


all         the       woods   are      green; 
gaze    once      more      on       thee ! 


^ 


'^ 


-^^^^ 


^ 


J I- 


K>    I  q 


4:: 


^ 


— I 1 1=^^  % 1— 


glad-some  song.  The    spright-ly     birds    are     all     in    tune,   A\id    na     -   ture 
span-gling  gems,    A      love  -  ly,     bright.and   bless- ed   boon,  That  come      to 


r 


^ 


-^ 


irz^z 


W^^- 


-M=±ci. 


Har.  Third  Raader. 


122 


^« 


J— J- 


22: 


^3^5^ 


^^Ei^m 


d^ 


s*=i 


^^^ 


?■ 


F 


f-^f 


smiles     in       sum  -  mer    pride  In  the         flow    -   'ry        month      of      June, 
cheer     and      wel  -  come        in         The        flow    -    'ly        month      of      June. 


:^=j: 


:^~^? 


32L: 


^ 


=]: 


d^^S 


-^ 


-#— •- 


/ 


T — 5—^ — S" w 


^1 


f=^P^ 


:^ 


r 


J— J- 


^r^ 


tt 


T — r 

There's  mu   -  sic     in       the   laugh  -  ing     sky,    And.  balm     up  -  on       the 
The   lark      has  sought  an       up  -  ward  home,  Far      in      the   dew   -  y 


EE 


:^==1: 


12^ 


i 


^s^ 


;j=± 


i=l J-13 


^. 


1=* 


:^^=i^ 


^■^ 


r-^t 


air,  .     .         The  earth       is  stamped  with   love  -   li  -  ness,     And    all         a  - 
air, .     .      While   low   -    ly        by       the      ros   -   e's   cheek.    The  black-bird's 


te 


aa 


^ 


-^        -G^        -«t        -^  -^        -US'- 


=1=1: 


zz^ 


r— 1^ 


-r 


f 


z^ 


=E 


IS^ 


fe^ 


t-r 


3=S 


r 


:<=2: 


5l^ 


t- 


:^=^ 


round      is         fair;.     .  There's  glo   -     ry       on       the  moun  -  tain      top.    And 
sing  -  ing       there;  On       in  its      leaf   -    y   bow'rs     un  -   seen.   The 


i 


W=^i- 


'^^- 


5 


-^^ 


^ 


3: 


=1: 


^3^ 


^3==i=: 


Har.  Third  Reader. 


i 


Si 


^d^ 


glad  -  ness     on         the     plain,     .  The      flow     - 

thrush  bursts  forth       in     song,     .  A         low 


1^ 


ers   wake  from  their 
and    pleas     -     ing 


:=1: 


3%^^ 


-^z 


■^- 


-^- 


^i 


^J- 


Fi-J^ 


f. 


:z|s 


S^ 


1^1 


:^^- 


^: 


J^Z 


Ti^-t 


r 


win    -   try      bed,       And   blush     and       bloom      a  -   gain.  Oh!  the 

mel    -    o     -     dy        The  woods      and       dells         a  -  mong.  Oh  I  the 


i 


p^ 


E5 


:± 


=|: 


'^CJ.    ^\Ki-= 


-^- 


-^- 


^r=^ 


i 


J- 


-4- 


12^ 


^^=g^ 


:g: 


fe 


flow   -   'ry  month     of     June !      Oh !     .    the      flow    -    'ry  month       of     June ! 


t^ 


is^ 


J: 


ri 


f^^^ML 


t^:. 


Haill 


Haill       Hail 


the       flow     -     'ry  mouth         of    June! 


// 


J 


£^= 


5fcr*ih523i-:<2:i 


Jg^^^^F^E^E^^^ 


,  I' — -   ]D.C.v.2 


i 


Hail !     thou   flow  -  'ry    month  of       June !    All    hail !    Hail !     Hail ! 


a 


H 


Har.  Third  Rusdcr 


124 


Ex.  265. 


-^. 


^        ZzTY  r  *  '     '     "^^^  I    If     1^   I     Li 


s 


:f^ 


d2^^-»- 


^^3^ 


ri 


1 1  I    I 


r  r  ^ 


f=r-= 


3^3^ 


rn*^' 


i^ 


feir 


m — ^'^^ LI 


S 


^^Fi=t 


Ex.  366. 


»S3= 


J=c^^ 


i 


SiBE£ 


E=S^PE3^ 


:je=fc 


^1*--^ 


r 


^^^ 


-*=:. 


XTi-J 


r 


^ 


^B^i^ 


Har.  Third  Reader. 


126 


Animato. 


r=* 


THE  FOREST  HOME. 


Sir  Julius  Benedict. 


f 


i 


-* ^ 


1.  There  stands     a       lit  -  tie     low   -   ly        cot 

2.  I         see      be-tween  the  wav  -  ins     trees 


Deep 
The 


^^^i 


=}t 


X 


There    stands      a        lit   -  tie 
I  see        be  -  tweeu    the 


low   -      ly 
wav    -    ing 


,t=JV 


with  -  in  a        for   -    est         dell ; 

-   tic  church   with  gleam   -   ing      spire, 


—- m- 


Ah! 
And 


:il^ 


3^^ 


5^="^^=* 


^^^ 


^ 


with    -    In  a  for     -     est         dell,     with    -    In 

tlie       riis     -     tic     church      with      gleam  -  ing,    gleam    -    ing 


dell; 
spire, 


:i 


1=?^^?^^ 


^ 


5»       ^        ■• 
would       it     were      my      hap    -   py         lot 
hear       up  -   on       the       eve  -  ning    breeze 


f 


In 
The 


-« 


=^ 


a^=^r=it 


Ah!     would         it       were        my 
And       hear         up    -     on         the 


hap   -     py 
eve    -    ning 


=h: 


:^ 


^ 


P 


that     sweet     for 
voi   -    ces       of 


T—^r 


-*- 


est   home         to       dwell, 
the      vil     -    lag:e    choir. 


Up  - 
Oh! 


r^^=^ 


-X 


-^ — '-^- 


Har. 


lot         In       tliat       sweet  home 
breeze,      I        hear  up  -    on 

Third   Reader. 


to        dwell.       In        that     sweet 
the       breeze.    The       voi     -  ces 


=^t 


^ 


home        to 
of         the 


126 


:feJ^5^5l^fe^^i^^ 


f-i 


on 
leave 


-^- 

the 
the 


? 


m 


roof 
cit 


y's 


gen 
bus 


tie 

y 


dove 
tlirong, 


In 

Its 


Wi==i? 


3^^^ 


a^^^s 


:^=^ 


^i 


y 


dwell, 
choir. 


Up 

-     on 

the  . 

roof  . 

.    a  . 

gen 
.    bus 

-   tie 

Oh! 

leave 

the    . 

.       cit     - 

y's  . 

-    y 

dolce. 


^       9- 

sunlight  bathes  her  snow-y      breast ; 
cares.its  strife, its  wea  -  rj     noise, 


-t^-r 


She 
And 


tells    a        tale     of 
come    and  dwell  the 


^^^^^^ 


tf=^ 


r±==te 


-^-^- 


dove 
throng. 


In     sun  -  light     bathes  her     breast ; 
And    come  and       dwell  the     woods 


She      tells      a         tale      of 
a    -     moug,     and   dwell    the 


'^^■ 


i^EEi 


-¥-^C- 


V 


peace 
woods 


and  love,    And     woos       the    wea  -    ry       heart         to 

a         -     naong,   'Mid        na  -  ture's   pure      and      sim    -    pie 


tJ- 


3^ 


3^SE^ 


♦    -J-    ^*    I*-' 


-^- — •- 


■.h=A 


:<=2: 


fe^ 


^=F*f^ 


-| ^1 


-<&- 


rest.  And      woos       the     wea    -  ry       heart        to       rest,         And 

joys,  'Mid       na  -    ture's    pure      and       sim     -    pie       joys,         'Mid 


1^=^ 


^ ^- 


EEi 


dolce,  softly  and  with  expression.     *  See  note  on  Minor,  p.  76. 

Har.  Third  ReMl*r. 


I 


a-J^^  j-jL-j— F^ 


127 


=EJ=^ 


U 


woos     the   wea  -  ry  heart      to     . 
na  -  ture's  pure  and  sim  -   pie  . 


rest, 
joys. 


=11= 

Ah! 
Oh! 


11^=:^ 


^ 


-^ 


Jl-J^-fi-J^ 


-jg;: 


Ah!  would   It     were    my    hap  -  py 
Oh!   leave  the     cit  -  ys    bus  -  y 


mm 


¥ 


would 
leave 


r^  T 


it 
the 


were 
cit 


my 


hap 

bus 


^      r,      ^      ^ 

py  lot     In    that  sweet 

y  throng,  And  come  and 


i^^ 


::i^z>^ 


K 


->-^ 


K 


±: 


^J=J 


lot      In     that  sweet  for-  est    home   to    dwell,  Ah!  would  it     were     my    hap-  py 
throng,  Its   cares,  its     strife,  its     wea  -  ry     noise.Aud  come  and   dwell,  and   come   and 


i 


cres. 


^ 


>      J^        >      J^ 


=(5): 


dim. 


~-r 


for  -  est   home 


dwell   the   woods 


to    dwell,  lu 
a  -  mong.'Mid 


that  sweet  for 


na-ture's 


pure 


est  home      to 

and  sim   -   pie 


■i 0 — n -• 


^ 


lot        In       that 
dwell    the    woods 

dwell,  In  that  sweet 
Joys,  Mid  ua- tare's 


sweet     for 
a  -   mong, 

for 


est   home     to      dwell, 
'Mid     ua  -  ture's  pure 


In     that     home        to 
and  .    .       sim    -    pie 

est    home    to     dwell. 
Mid     na  -  ture's  joys. 


M 


111 


dwell, 
joys, 


In  that  sweet  for 
'Mid    na-ture's  joys,   . 
p  rail. 


est  home  to  dwell. 
"Mid    na-ture's  joys. 


H 


:n=(5: 


-fS- 


^ 


dwell, 
joys, 

rlar.  Third   Reader. 


In    that  sweet 
'Mid    ua  -  lure's 


--f—^ — ^ — i^t_i- 

for  -   est  home     to     dwell, 
pure   aud    sim  -  pie     Joys. 


128 


BROOK'S   SLUMBER   SONG. 

M.  C.  GlLtlNOTON. 

Andante  tranquiUo. 


1.  Sleep 

2.  Sleep 

3.  Sleep 


and     dream,     blos-soms  bright, 
and     dream,     bird-  ies    dear, 
and     dream,     old      and  young. 


In  your  meadows  dark  -  ling, 
In  your  leaf  -  y  dwell  -  ing ; 
On     your    pil  -  lows    ly  -    ing ; 


Sleep 


and  dream. 

cres. 


5^ 
Sleep 

mf 


and     dream,  .    . 


-i- 


m-0^-0^ 


-^ 


V- 


Crowns  of      dew  -  drops  all 

For       a        while  your    car  - 
Night's  gray   cur  -  tains  round 


the  night  On  your  heads  are  spark  -  ling, 
ols  clear  You  may  cease  from  tell  -  ing. 
you  hung,  Soothe   a   -   way    your  sigh   -  ing. 


To 
To 
To 


your    love    -    ly 
your    lit    -      tie 
the      chil   -  dren. 


pet  -  als  all, 
nest  -  lings  all, 
one        and     all. 


Soft  -  ly 
Soft  -  ly 
Soft    -  ly 


as 
as 


d2. 


S^3 


^ 


r  z  f 


w 
V 


zs^ 


r  z 


AndarUe  tranquiUo,  somewhat  slowly  and  quietly. 


War.  Third  Reader. 


I=B^ 


Fi 


P 


d*^ 


z:3l=^t 


129 


-=i — 


pass,        I       call,        Hush   -   a  -  by,     lull    -    a  -  by,      close  your     eye, 


1^ 


7-^    ^ 


=i^===Pt=:i^ 


l^'^lJ'p"''^'"?''  ^ 


-=i — 


S5 


iEE 


35=fs 


^is 


r*-J: 


Hush  -  a  -  by. 


f=9t^iat 


lull  -    a  -  by, 


^       ^ 


close 


your 


I 


Efcz^ 


Hush  -  a  -  by. 


lull    -    a  -  by,      close 


your 


± 


P 


PP 


E±3 


riF=j^^^^ 


;=1: 


.-f — 


^; 


f^^ 


atizfL 


eye. 


Sleep !    . 


Sleep!    . 


P 


PP 


^1^ 


L-d: 


-^- 


^=^ 


tz:]: 


eye, 


Sleep! 


i2— I^V 


dim. 


Sleep! 


Hush -a  -by, 


1^      ^ 


lull  -  a  -  by !  . 


3 


'ir-=-^- 


Sleep ! 


~^b-^- 


Hush-  a  -by, 


Har.  Third   Reader. 


lull  -  a  -  byl     Sleep! 


130 


THE  SHADES  OF  NIGHT. 


Quickly  and  with  spirit, 
rnf 


u 


et 


^^ES 


(     I 


1^ 


U=J=f^ J^^z 


J.  E.  Pekeino. 


•  "  i^ 


tic  shad-ows    r     1^     f      ^ 


I 


r    *^    • 

Mys        -        tic  shad-ows 
Suits  the   hap-  py, 

1.  The  shades  of  night  are  stealing  o'er  us,  Mys-tic  shad  -  ows       round  us  beam, — 

2.  Sunlight 'mid  the  halls  of  splendor  Suits  the  hap   -  py,       glads  the  free, The 


w 


^ 


^=Js=^ 


^^ 


S       ^      S 

sent     fa   -  ces 
quil  shades    of 


Ab      -        sent     fa   -  ces  ,  ^  ^.— ». 

.  a  tran      -      quil  shades   of  hJ         I         Kfe^Nl^KIII 


Ab-sent  fa     -     ces 
tranquil  shades     of 


smile  be -fore    us,Like  some  half -forgotten    dream,., 
eve  -ning  ren  -  der  Feelings  dear-er  far  to      me, .... 


i 


:1t=1!5: 


3?E3?E3E^EE^&^E3^^=e2E^ 


_^_^_^_ 


fe^5^ 


rail. 


u   5 

Like  some  half-for-got-ten  dream.  .  .  Shades 
Feel-ings  dear-er  far  to    me Sun 


of   night  are  steal-ing   o'er    us, 
light  'mid  the  halls  of  splen-dor 


1^^ h h: 


1^=fE 


Mj;s 
Suits 


tic  shadows 
the  hap-py, 


Ab 
tran 


i 


iri=J^ 


sent  fa  -  ces 
quil  shades  of 


->    h  ,   H*g 


^J=i 


S^ 


^F 


Mys-tic  shad  -  ows       round  us  beam,        Absent  fa   -     ces         smile  before     us. 
Suits  the  hap  -  py,        glads  the  free, The  tranquil  shades  of  evening  ren -der 


i 


^^^S 


■^— d— # 


->   r*   |: 


Har.  Third  Readai. 


131 


rail. 


F=^- 


=^=/=-^: 


Like  some  half- for  -  got  -  ten     dream,.      Like  some  half  -  for -got -ten  dream. 
Feel  -  ings  dear  -  er     far     to       me,    .    .      Feel- ings  dear  -  er     far     to       me. 


;h 


'»^ 


>      m  — Kzzis; 


d^^Ei 


]^=d^ 


d^^=d^ 


-»—ii 


--ti — ♦- 


Ex.  267.     ( a )  3fa;cr. 


( 6 )  Minor. 


f5=^-- 


^n: 


I 


:p! 


^3E3^-i5^3^3^JEH^E^tej3 


Ex.  268.     itfo/or. 


*■? 


S^ 


r-=^r— r^'^=-^-^?=C7>^ 


^D 


raz;^=s:^: 


!»- 


^ 


=^ 


^_j_^ 


Ex.  269.     Minor. 


|£ 


t 


^-r=E-=c^^^--^jT--=^-^ 


i 


m- 


1 


P^E3EEE£3 


12- 


^  tempo,  in  the  original  speed. 

Har.  Third  R««d«r. 


132 


SWEET   CONVENT   BELLS. 


Moderaio. 


J.  L.  Hatton. 


P?^fcp^:-±^g==«- 


t^^^=■/. 


=5=n: 


^      ^      <^      ^ 

1.  Sweet  con  -  vent  bells,  sweet  con  -  vent  bells.  How    sil  -  v'ry    soft    their 

2.  Sweet  con  -  vent  bells,  from  tur  -  ret    gray,   At      ear  -    ly    dawn  and 


fe^Ei 


:1^=^ 


Eg 


^^ 


to=^-^-^t-j  1 

r    ■> 

— W S f- — 

N 

-^f^»^=q 

«- 

mu  -   sic    swells     In 
close    of        day,    Still 

melt 
will 

-    ing    ca  -  dence 
your  chimes  ring 

on 

sweet 

the      air.      In   - 
-  ly       on.    When 

/  .  1/    h»      -                      ^                                  1^ 

■  ^ 

&          ^            N 

r*                      ~i 

/ 

.  i7  h"                   r*          N        J 

1-        1           1 

!              iv                   k.    i 

L 

i!ZJ2          s — J P ii — 

«'  • 

WWW 

*  • 

.    j>i     .s.    .  r   1 

IS 

y. -^ c 0 1 

-J--£—J-J 

fel^^rd^ 


ores. 


El2 


^ 


-^— ^— ^ 


i^ 


S— ^ 


^^M^ 


vit-iug  high  and  low    to  prayer.Now  ris  -  ing  up   with  grad-ual  swell, Now 
I      am  passed  a  -  way   and  gone. Now  ris  -  ing   up    with  grad-ual  swell.Now 


oing  through  the       dis   -   tant      dell.     Calm  -   ing     the   care-worn 


Har,  Third  Raadar. 


133 


n  k  ,        ^        ^ 

N         b       fe     _i^       _h 

I 

1 

1 

P  ^ 

V,  I'  b   h J        J 

P          S       R     •         * 

._. 

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/'bV  gf f —  4 

-  J         4        J 

* 

* 

J. 

(^  V^-J2 — f^ ^ f 

-^ * 9 ^ ^- 

— * — 

— ^ 

— J-^ 

0- 

pil  -  grim's  breast,  Sooth  -  ing  each  wea  -  ry      soul 

0  b  u 

) 
to 

1 

rest. 

Sweet 

^  -^^- 1^ N 

— h* fe — ^  -K sr- 

=\ ~^ 

^ 1}'^ * ^ 

h-iH^— j^z:ji_g! — J^ 

^ 

1 

' — 0-^ 



l2^ 


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rfc 


5EE^=J^=^ 


e 


ii 


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con  -  vent  bells,  sweet  convent  bells,Howsil-v'ry  sweet  their  mu  -sic  swells  In 


I 


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;i^ 


s^i^ 


W 


■^—^- 


w 


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^  P      1^       •       i^       1>       1^       !^       1^  I?    i/ 


^      -       k      l^      ^      '^      '^ 
melt  -  ing  ca-denceon     the   air.    In  -vit- ing  high  and   low     to  prayer, In 


m 


h^—^ ft=|!S=^ 


«!=*: 


^^^ 


1^=d^=l^ 


te^=»!=^ 


I 


^ 


^m 


JL 


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^ 


I  dim.  e  ra?Z. 


f 


vit     -    ing  high      and 


low 


to        prayer. 


1 


I 


H«r    Third  R**d«r. 


^ 


:=& 


^= 


134 


STAR   OF    PEACE. 


Moderato, 


J.  E.  QtOViso. 


&=J^J=4 


=|: 


=d: 


^^is^di^ 


!=fce 


W^ 


r-n^ 


'-f=f^f 


S-lE 


^ 


1.  Star      of  peace  !  to   wand'rers  wea-ry, Bright  thy  beams  that  smile  on   me; 

2.  Star      of  hope  !  gleam  on  the    bil  -  low.Biess  the  soul  that  sighs  for    thee ; 
8.  Star       di-viue!   oh,  safe- ly  guide  him, Bring  the  wand'rer  home  to      thee; 


yi-B: 


^^ 


:=i 


=1: 


t:^: 


^^^ 


J-4 


^ 


a: 


■^r 


^^rp 


:Ji^ 


/-^  jOjO  Adagio. 


=«J=i 


r 


Cheer  the  pi  -  lot's  vi  -  sion  drear -y,  Far 
Bless  the  sail  -  or's  lone  -  ly  pil  -  low,  Far 
Sore     temp-ta  -  tions  long  have  tried  him,  Far 


at  sea, 
at  sea, 
ai\i    sea. 


Kar       at     sea 


:b 


±ar 
Far 
Far 


at  sea. 
at  sea. 
at    sea. 


fti: 


^^i^F^ 


^IB 


MY   GOD,  HOW   ENDLESS   IS   THY  LOVE  I 

Andante.  •  ,        .     /^^ 


1.  My    God,  how  end- less    is  Thy  love  !  Thy  gifts  are  ev  - 'ry    evening  new, And 

2.  Thou  spread'st  the  curtain  of    tlie  night,Great  Guardian  of  my  sleeping  hours  ;Thy 

3.  I      yield  my  pow'rs  to   Thy  command, To  Thee  1     con-se  -  crate  my  days  ;And 


i 


w 


IESE3 


'-^^^^^^^^^ 


X=^- 


-lt-¥-. 


mt 


j=±j 


rH: 


4— J—'^J- 


:«: 


^ 


I 


^=^ 


T— r 


ti^ 


f=F=F=f^r 


7 

dev 


morn  -  ing  mer  -  cies   from    a  -  bove  Gen  -  tly    dis  -  til    like    ear  -  ly     aew. 
sov-  'reign  word  re  -  stores  the  light.  And  quick-ens   all   my   drow  -  sy  pow'rs. 
dai  -  ly     bless-  ings  from  Thy  hands  De  -  mand  my    dai  -  ly    songs  of  praise. 


i 


^-=3z^_^^:^^jz=z:EJE^z^3^zzEJ— 3      j__H 


:± 


Adagio,  slowly  and  grax;etully . 


Har.  Third  Reader, 


PART  II.     FAMILIAR  SOISTOS. 

The  songs  which  are,  here  presented  have  entered  fully  into  American 
life  and  thought.  Not  to  know  these  songs  is  to  be  ignorant  of  the  thought 
and  sentiment  of  the  passing  generation.  Hence  they  should  become  a 
part  of  the  life  and  thought  of  every  American  child. 

This  part  of  the  child's  education  we  have  before  assumed  to  be  pro- 
vided for  in  the  home,  but  the  rapid  changes  in  the  character  of  our  people 
make  dependence  on  home  instruction  unwise.  The  school,  therefore,  is 
more  and  more  relied  upon  as  a  means  of  establishing  those  sentiments 
regarding  home  and  country  upon  which  the  purity  of  life  and  the  perma- 
nence of  our  government  in  a  measure  depend. 

The  songs  in  the  collection  fonn  a  part  of  a  series  which  is  distributed 
throughout  the  course.  They  are  graded  as  to  sentiment  and  also  with 
reference  to  the  difficulty  of  notation,  and  hence  are  always  available  for 
reading  purposes ;  but  as  these  songs  are  to  be  learned,  they  become  valuable 
to  the  teacher  as  material  for  dictation  and  for  memory  writing. 

When  a  song  is  familiar,  the  intonation  and  the  rhythm  should  be  so 
clear  in  the  child's  mind  that  he  can  write  the  melody  from  memory.  The 
first  attempts  in  this  line,  however,  will  be  somewhat  unfruitful,  but  a  little 
thought  bestowed  upon  the  matter  and  frequent  practice  will  bring  an  excel- 
lent result,  and  will  soon  establish  a  habit  of  attention  to  musical  forms  that 
will  be  not  only  extremely  entertaining,  but  ever  useful. 

The  combination  of  familiar  tone  groups  with  new  and  varied  rhythms 
produces  a  most  interesting  problem  when  presented  to  children.  For 
example,  if  the  tones  which  enter  into  the  first  phrase  of  America  are  given 
as  at  (a)  they  will  be  instantly  recognized,  but  if  they  are  given  as  at  (i) 
many  pupils  will  be  confused  by  the  rhythm.  Hence  at  this  stage  in  the 
pupil's  development  practice  in  such  combinations  of  tonality  and  rhythm 
should  be  given. 


^—g,  g,  r,  ,^  ^_ ,» nyFi=^ 


Har.  Third  R«adar.  (136) 


136 


YESPER    HYMN. 


Moderato. 


BUSSIAK  Mbloot. 


d=z^: 


^3^1 


-Jt-- 


^=^ 


i^^ 


1.  Hark!  the   ves- per  hymn  is   steal -ing  O'er  the   wa-ters,  soft  and   clear; 

2.  Now,  like  moonlight  waves  retreat  -  ing    To    the  shore,  it     dies     a  -   long ; 


i: 


^^m 


d: 


m^ 


::t 


:q: 


>±i 


■X 


m 


Near-er    yet,  and  near  -  er  peal  -  ing,  And  now  bursts  up  -on     the    ear; 
Now,  like    an-gry   sur-ges  meet -ing, Breaks  the  min-gled  tide    of    song; 

mf  dim. 


-* — 0- 


r- 


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:r=|==:i= 


^ 


m 


Ju  -  bi  -  la  -  te,     far  -  ther    steal-ing.  Soft     it     fades  up  -  on   the  ear ; 
Ju  -  bi  -  la  -  te,  waves  re  -   treat-ing     To     the  shore,   it     dies  a  -  long ; 

P  dim. 


P^^^^ 


1=1t 


1: 


1 


:^5: 


fc^^3 


Far -ther  now, now  far- ther  steal-ing.  Soft   it  fades    up   -    on    the    ear. 
Hark !  a  -  gain, like  waves  re  -  treat-ing  To   the  shore,  it       dies     a  -  long. 


SOFTLY   NOW  THE   LIGHT   OF   DAY. 


G.  "W.  DOANE. 


C.  M.  voN  Weber  (1786-1826). 


a 


s 


^=\- 


ffl: 


=i 


i^znd 


1.  Soft  -  ly    now     the  light 

2.  Thou, whose  all  -  per  -  vad 

3.  Soon,   for    me,    the    light 


^ 


d=4: 


1^ 


£* 


of       day    Fades    up  -  on     my  sight   a  -  way ; 
ing    eye  Naught  es  -  capes, with-out, with  -in, 
of      day     Sliall    for  -  ev  -    er    jiass    a  -  way ; 


^-- 


:=P 


=q: 


=1: 


nl: 


is^ 


;a 


Free  from  care,  from  la  -  bor    free.    Lord,    I      would  cora-mune  with  Thee. 

Par  -  don  each   in  -  firm  -  i    -    ty,         O  -  pen     fault,  and     se  -   cret  sin. 

Then,from   sin  and     sor  -   row  free.    Take  me.    Lord,  to     dwell  with  Thee. 

Har.  Third  Reader. 


137 


Caroline  Keppbu 
Expressively. 


ROBIN  ADAIR. 


:^=^^ 


Scotch  Melody. 


^^^^^^^§^£ 


^~d—^ — 


^F=^- 


t=t^-= 


1.  What's  this  dull  town  to   me?   Rob-in's   not    near.Whatwas't  I  wished  to  see, 

2.  What  made  th'assem-bly  shine?  Rob- ia      A   -    dair.What  made  the  ball     so  fine? 

3.  But  novv  thourt  cold  to  me,     Rob -in     A  -   dair;   But  nowthou'rteoldtome, 


-#iJ'-fg=^=j 


-1=^1^ 


S^ 


What  wished  to      hear  ?  Where's  all  the  joy    and  mirth  That  made  this  town  a 
Rob  -  in         was  there.  What,  when  the  play  was  o'er,  What   made      my 


Rob  -  in         A    -  dair.       "Yet    him     I  loved  so  well,  Still    in 


my 


m 


heav'n  on  earth  ?  Oh !  they're  all       fled     with  thee,    Rob-  in        A    -     dair. 
heart     so  sore  ?  Oh !   it  was    part  -  ing  with     Rob  -  in        A    -     dair. 

heart  shall  dwell ;  Oh !  I  can    ne'er     for  -  get      Rob  -  in        A    -     dair. 


GAYLY  THE  TROUBADOUR. 


T.  H.  Batly. 


^ 


^.^35 


1.  Gay     -      ly 

2.  She  for 

3.  Hark!     'twas 


the 
the 
the 


m 


trou 
trou 
trou 


3^  = 


ba  -  dour 
ba  -  dour 
ba  -  dour 


touched 
hope  - 
breath  - 


his 
less 
ing 


^- 


-G>- 


gni   -  tar, 
ly       wept; 
her     name ; 


^^^E3^3»- 


S 


When  he  was  has  -  ten-ing  home  from  the  war ;  Sing- ing,  "From  Pal-es-tine, 
Sad  -  ly  she  thought  of  him  when  oth  -  ers  slept ;  Sing  -  ing,  "In  search  of  thee 
Un  -  der  the   bat  -  tle-ment  soft  -  ly     he  came ;  Sing  -  ing,  "From  ral-es-tine. 


g 


S3" 


M 


d: 


^ 


^ 


hith  -  er      I     come;     La  -  dy  love,      la  -  dy  love,  wel -come  me  home." 

would     I   might  roam  ;  Trou-ba-dour,  trou  -  ba-dour,conie     to     thy  home." 

hith  -  er     1     come ;    La  -  dy  love,      la  -  dy  love,  wel  -  come  me  home." 


H«r.  Third  Reader. 


138 


THE   HEART   BOWED   DOWN. 


From  "The  BoHEBiiAir  Gikl.' 


Michael.  William  Balfe  (1808-1870). 


fe 


aSEE 


d=± 


^ 


:=|: 


s-r^-^=E 


T- 


a 


5 


1.  The  heart  bow 'd  down  by  weight  of  woe,  To  weak-est  hopes  av ill    cling,     To 

2.  The  mind  will    in    its      worst  de-spair  Still  pon-der  o'er     the       past,      On 


i*^^ 


zzt- 


=^=: 


# 


ij^ 


f^=^:^| 


i^ 


thought  and     im  -  pulse     while  they   flow.    That    can      no       com      -       fort 
mo  -  ments  of      de    -    li<jht  that  were      Too  beau  -  ti    -    ful  .  .  .      to 


^^ 


:#*- 


^=fe| 


i^ 


■P 


^= 


:1: 


-TTZ^- 


-.11= 


bring.    That     can,        that      can       no         com 
last.       That    were       too       beau  -  ti     -     ful 


fort        bring ;         With 
to  last ;  With 


;d^ 


SS 


5 


-^- 


:*ziz*: 


:22=z^ 


those  ex  -  cit  -  ing    scenes  will  blend.  O'er  pleasure's  path  -  way  thrown ;    But 
long  -de  -  part  -  ed    years   ex  -  tend      Its    vi  -  sions  with  them  flown ;     For 


^^^^ig^^^pe^ 


^-9S> 


^^dE3: 


mem-'ry      is    the      on  -    ly  friend  That  grief  can    call      its    own,       That 


;^^^= 


^^gg|^ii^.i^±i^^^H 


grief      can    call        its        own. 


That    grief      can     call         its     own. 

Har.  Third  Reader. 


139 


THEN   YOU'LL   REMEMBER   ME. 


i 


Andante  cantabile. 


Michael  William  Balfe  (1808-1870). 


^- 


^^=4 


t=.-=tr. 


S^^ 


±=Ml 


--t 


i 


1.  When   oth  -  er      lips     and       oth  -    er       hearts  Their  tales   of     love  shall 

2.  When  cold  -  ness     or       de  -    ceit       shall  slight  The   beau-ty     now  the^' 


J^. 


i=d: 


tS 


^S=t: 


:i=«=t= 


S^ 


^—0—0- 


-^^ 


tell.  In    language  whose  ex  -  cess      im  -  parts  The  pow'r  they  feel      so 

prize.       And  deem  it     but     a      fad  -    ed    light  Which  beams  within     your 


i 


ifc=t 


5fe3: 


=|: 


i;^^ 


.^}ZJ^ 


well,  There  may,  per- haps,  in      such       a  scene  Some  rec  -  ol  -  lee  -  tion 

eyes ;  When  hoi  -  low  hearts  shall  wear     a         mask  'Twill  break  your  own  to 


^m 


i 


g^^^ 


5=]: 


*= 


^Si 


3«=S=» 


--t^: 


be.  Of  days  that  have  as       hap  -  py      been.  And  you'll  re  -  mem  -  ber 

see ;  In  such    a     mo-raent    I  but     ask   That  you'll  re  -  mem  -  ber 


me,.  .      And   you'll  re  -  mem  -  ber,  you'll  re  -  mem     -     ber     me. 
me,  .  .      That  you'll  re  -  mem  -  ber,  you'll  re  -  mem     -      ber     me. 


Andavte  cantabile,  somewhat  slowly,  and  in  melodious,  flowing  style. 

Har.  Third    R*ad«r. 


140 


THE   LAST    ROSE   OF   SUMMER. 


Thomas  Moore 


Irish  Melody. 


1.  'Tis    the   last      rose      of         sum  -  mer.       Left      bloom  -  ing       a    - 

2.  ril     not  leave   thee,      thou     lone    one,        To         pine        on        the 

3.  So  soon     may       I  fol  -  low,       When    friend-ships      de  - 


lone;  All        her      love    -    ly 

stem;         Since      the      love    -    ly 
cay,  And     from     love's    shin 


com 

are 

ing 


pan  -    ions  Are 

sleep  -  ing,  Go, 

cir    -    cle  The 


^^ 


'^ 


fad       - 

ed 

and 

gone; 

sleep 

thou 

with 

them; 

gems 

drop 

a 

way; 

No        flow     -      er  of 

Thus      kind     -     ly  I  . 

When    true        hearts      lie 


her 


,«i=d: 


ess- 


Si 


;E=E 


3332 


kin  -  dred,  No  rose  -  bud 
scat  -  ter  Thy  leaves  o'er 
with   -   ered,      And     fond       ones 


is  nigh  . 

the  bed    . 

are         flown, 


t: 


^ 


--¥ 1 


To        re  • 
Where  thy 
Oh,     who 


fleet    back 
mates    of 
would  .  . 


her  blush  -  es, 
the  gar  -  den 
in    -    hab  -  it 


Or  give  . 
Lie  scent 
This      bleak 


siffh      for     sigh. 

less      and    dead. 

world       a  -  lone! 

Har.  Third  Reader. 


PATRIOTIC  A'ND  DEVOTIONAL  SOl^GS. 


AMERICA. 


S.  F.  Smith. 


Henbt  Caret  ( ?). 


i 


3^ 


m 


w^ 


=F 


1.  My  coun-try!       'tis         of     thee,  Sweet  land  of  lib  -    er  -  ty, 

2.  My        na  -  tive  coun  -  try,  thee —  Land    of  the  no  -   ble  free — 

3.  Let  mu  -  sic  swell     the  breeze,    And  ring  from  all         the  trees, 

4.  Our       fa-  thers'  God!      to    Thee,     Au  -  thor  of  lib  -    er  -  ty. 


-•■ « 0 


-m — 0- 


Of      thee       I       sing; 

Thy   name     I       love; 

Sweet  free  -  dom's  song ; 

To     Thee    we    sing; 


:U U-d 


Land  where  my     fa  -  thers  died !  Land     of     the 
I        love    thy    rocks   and   rills,  Thy  woods  and 
Let      mor  -  tal  tongues  a  -  wake ;  Let      all     that 
Long    may    our    land    be  bright  With  free-do m's 


i 


l^ 


r — unr 


'^ 


^-F-|#- 


I 


Pil-grim's  pride  !  From  ev   -  'ly  moun-tain  side     Let  free  -  dom    ring. 

tem  -  pled  hills  ;  My       heart  with  rap  -  ture  thrills  Like  that     a    -  bove. 

breathe  par- take ;  Let      rocks  their  si-  lence  break, The  sound  pro  -  long. 

ho-    ly  light;  Pro   -  tect    us  by     Thy  might.  Great  God,    our    King. 


Har.  Third  Raider. 


(141) 


142 


BLESSED   ARE   THE   MERCIFUL. 


Matthew,  v  :  7. 

-I- 


&E^ 


--It 


^^^^ 


Bless  -  ed  are    the  mer  -  ci  -  ful    for  they  shall   ob  -  tain 


P 


fe^ 


i=J^=d=J=i=^3; 


i=i==t 


-* — ■» — » — *— 

Bless  -  ed  are    the  mer  -  ci  -  f  ul    ior  they  shall   ob  -  tain 


rgtegEgEEE^EEfes 


SffiB 


^ 


1251 


lEjeEE^E^ 


-*- — ^- 


^^ 


X 


^--^ 


]=^=drri 


ii^^^^^^il 


mer  -  cy.Bless-ed  are  the  mer-ci-ful  for  they  shall  obtain  mer-cy. 


J- 


m 


^^^^^%=^= 


It 


■■^— *- 


:=4: 


-^-:f. 


^i- 


mer  -  cy.Bless-ed  are  the  mer-ci-ful  for  they  shall  obtain  mer-cy. 


^-d. 


m^ 


-<S' — • r.^  •■  ^ 


^=*  I  r  •  r  r'^*-L>.^>-u-C^i:g=^=tac:p 


f=t 


fsr^ 


:^~|yi^ 


^ 


4= 


p 


Har.  Third  Read«r. 


143 


ONWARD,   CHRISTIAN   SOLDIERS. 


Eev.  8.  Baking-Goitld. 


Sir  Akthttb  S.  Sullivan. 


1.  Onward, Christian  sol  -    diers,  Marching  as  to  war.  With  the  cross  of  Je  -  sus 

2.  At  the  sign  of       tri    -    umph  Satan's  host  dOth  flee;  On,  then,  Christian  soldiers, 

3.  Like  a  might-y       ar    -      my  Moves  the  Church  of  God ;  Brothers,  we  are  treading 


^i 


J_  J.    ^ 


'^^^ 


AAA  J.  ^  ^AjAS^J. 


CT-r-r-r~r 


i 


:J. 


I^= 


w 


i 


d^ 


221 


r=rT=r 


-Gf- 


-^- 


ff^TT 


V  / 


Go  -  ing    on    be  -  fore !  Christ  the  roy-al      Mas  -  ter    Leads  a-gainst  the    foe ; 
On      to    vie  -  to  -    ry !  Hell's  founda-tions  quiv   -  er       At    the  shout  of  praise ; 
Where  the  saints  have  trod;    We  are  not    di  -  vid    -  ed,      All  one  Bod  -  y       we. 


^ 


J  J  A  A  ^  AAAA 


-^ — *- 


E 


i 


i 


r?m 


:s2: 


V-    I    r-^F 


^^^ 


J^-H^-I^J- 


Chorus. 


fr^m¥WrMff^^^ 


Forward  in  r  to    bat  -  tie.      See, His  banners   go.  Onward, Christian  sol  -  diers, 
Brothers,  lift  your  vol  -  ces,  Loud  j-our  anthems  raise  I 
One  in  hope  and  doc  -  trine.  One  in  char-  i  -   ty. 


^S^^d^t^^E^E^^! 


^a 


J.  J  ^  J—j- 


^^ 


'0^^ 


T  TTT 

Marchmg  as    to      war,  With  the  cross  of 

J   J  J  J 


r=r 


'ZS2L 


Je  -  sus     Go  -  ing  on     be  -  fore  I 


^^ 


^AaA  4  J.  A-  A!  J.   N^ 


i 


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1 


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Har.  Third  Rex^ 


144 


Joseph  Hopkinson. 


HAIL,  COLUMBIA! 


Prof.  PHTIiA. 


^ 


-^ 


-r- 


Im 


Hail,      Co-lum   -   bia!   hap-  py     land!  Hail,  ye     he  -  roes, 

mor  -   tal    pa  -    triota,  rise   once  more!  De  -  fend  your  rights,  de  - 
Sound,      sound  ^  th6     trump  of     fame.             Let  Wash  -  ing  - 

Be  -  hold      the  chief,  who     now   com-mands,Once  more  to  serve     his 


1^ 


3 


-^ — 1- 


5 


^= 


heav'n-bom  band  !  Who  fought  and  bled  in     Freedom's  cause,Who  fought  and  bled  in 
fend  your  shore ;  Let   no   rude  foe  with     im  -  pious  hand, Let    no   rude  foe  with 
ton's  great  name  Ring  thro'  the  world  with  loud     applause!  Ring  thro'  the  world  with 
coun-try  stands  ;  The  rock  on  which  the    storm    will  beat !  The  rock   on  which  the 


i 


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*^ 


Free    - 

dom's 

cause,  And, 

when 

the 

im 

pious 

hand,    In  - 

vade 

the 

loud 

ap    - 

plause !  Let 

ev  - 

'ry 

storm 

will 

beat!  But 

armed 

in 

storm  of        war    was  gone,  En 

shrine  where    sa  -  cred  lies      Of 

clime,  to        Free  -  dom  dear, 

vir  -  tue,     firm    and  true.  His 


^m 


~^-- 


=^=F=t 


^^ 


r 

joyed  the  peace  your  val  -  or  won.    Let    in  -   de-pend-ence  be   our  boast, 
toil       and  blood  the  well-earn'd  prize. While  of -f 'ring  peace,  sincere  and  just,  In 
Lis  -   ten    with      a      joy-ful  ear;  With  e  -  qual  skill, with  steady  power,He 
hopes  are    fixed  on  heav'n  and  you.  When  hope  was  sink-ing     in    dis-may  ,When 


i 


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i 


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W 


Ev   -  er  mind  -  ful      what        it  cost;            Ev 

Heav'n  we  place       a       man   -   ly  trust, That  truth 

gov  -  ems  in        the      fear  -    ful  hour      Of     hor 

gloom  ob  -  scured     Co  -   lum  -  bia's  day.     His   stead 


er    grate  -  ful 
and   jus  -    tice 
-    rid   war,      or 
-     y   mind,    from 


wwm. 


«=:3; 


:^3 


for  the      prize.  Let      its  al      -  tar 

shall  pre    -    vail.    And      ev  -  'ry  scheme  of 

guides  with      ease    The    hap  -  pier  time  of 

chan   -  ges       free,    Re  -  solved  on  death  or 


reach  the     skies, 
bond  -  age     fail. 

hon  -  est    peace. 

lib  -   er    -    ty. 

Har.  Third  Readef. 


146 


Chorus 


II: 


-tt 


--^-- 


T- 


-U-U= 


i 


Firm,     u  -  nit   -  ed        let        us       be,     Ral-ljing  round  our       lib  -  er  -  ty ! 


33^ 


:=f5:: 


■=1;-^-^^ 


^- 


:Sggi5g=^^^j 


As      a  band   of      broth-ers    joined,     Peace       and      safe  -  ty     we  shall  find. 


FLAG  OF  THE  FREE. 


M 


ElCHARD  'WaGITBR. 


m 


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:zi      r 
4^ 


3t=3tl=* 


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g 


1.  Flag       of       the      free,         fair    -   est 

2.  Flag       of       the    brave,       long      may 


to       see !      Borne       thro'     the 
it     wave,        Cho    -    sen  •     of 


=t 


5^"^ 


^ 


--f 


strife    and      the    than  -  der      of      war; 
God    while    His  might      we       a  -  dore; 


Ban  -    ner  made  bright 
In     Lib   -    er  -  ty's    van, 
D.s.  While     thro'    the      sky 


^S^ 


-=\-- 


=t 


?^f 


=^ 


with  star  -  ry  light,  Float  ev  -  er  proud 
man  -  hood  of  man,  Sym  -  bol  of  right 
loud  rings  the  cry,       Un  -   ion  and  Lib 


■  ly   from  moun  -  tain    to  shore, 
thro'   the  years   pass  -  ing  o'er. 
er  -  ty  !  one       ev  -  er  -  more ! 


Spread      thy       fair     folds        but        to 
Scat    -    ter        the     cloud       that    would 


to         the     slave, 
ored        a   -   far. 


shield        a^d        to     save, 
dark      -    en         a       star. 


("ar.  Third  Readar. 


146 


AMERICA   THE   BEAUTIFUL. 


m 


Katharine  Lee  Bates, 
Maestoso. 

-f- 


WiLi.  C.  Macfarlaitb. 


5^^ 


*■  ^* 


1 .  O  beau  -  ti  -  ful  for  spa  -  cious  skies,  For  am  -  ber  waves  of      grain, 

2.  0  beau-  ti  -ful  for  pil-grim  feet,  Whose  stem,  im-pas- sionM  stress 

3.  O  beau-  ti  -ful  for  he  -  roes  i^roved.  In     lib   -  er  -  at  -  ing     strife, 

4.  O  beau-  ti  -ful  for  pa  -  triot  dream  That  sees     be-yond   the     years 


gS 


^ 


i^ 


^ 


:g=ar 


Bdss  wUh  octaves  throughout. 


i 


For  pur  -  pie  moun-tain     ma-jes-ties  A-bove     tlie  fruit -ed    plain! 

A    thor-ough-fare  for    f ree-dom  beat  A  -  cross    tlie  wil  -  der  -  ness  ! 

A\Tio  more  than  self  their  coun-  try  loved.  And    mer  -  cy  more  than    life ! 

Thine  al   -  a  -  bas  -  ter      cit  -  ies  gleam  Un-dimm'd  by    hu  -  man  tears  ! 


m 


^ 


^ 


i 


w^ 


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=^ 


^  i 


e=? 


mer 

- 

-  ca ! 

mer 

- 

-  ca! 

mer 

-   ] 

-  ca! 

mer 

- 

I   -  ca! 

A  -  mer  -  i  -   ca !  God  shed  His  grace  on     tlief, 

A  -  mer  -  i  -   ca !  God  mend  thine  ev  -  'ry     flaw, 

A  -  mer  -  i  -   ca !  May  God  thy  gold  re  -  fine, 

A  -  mer  -  i  -   ca !  God  shed  His  grace  on     thee. 


And 
Con- 
Till 
And 


^^ 


? 


•  By  permission  of  the  author. 

Copyright,  1913,  by  WiiiL  C.  Macfaelan e. 


Har.  Third  Reader, 


147 


=fc 


tcrt 


-CJ- 


rr>- 


crown  thy  good  with  broth  -  er  -  hood,  From  sea  to  shin  -  ing  sea ! 

firm  thy  soul      in  self  -  con  -  trol,  Thy  lib    -  er  -  ty      in  law ! 

all  sue  -cess      be  no  -  ble  -  ness.  And  ev   -  'ry  gain    di  -  vine ! 

crown  thy  good   with  broth  -  er  -  hood.  From  sea  to  shin  -  ing  sea ! 


3=?c 


i 


BsFSAnr.  Molto  maestoso. 


^ 


ritard. 


=ii!=Fii" 


i^ 


3l=^ 


-<s^ 


f^fr^^— ' 


-0 — ^ 


-g^ 


A  -mer   -    i   -   ca !     A  -  mer  -  i  -   ca !     God   shed     His  grace     on     thee ! 


m 


I 


.^_i_ 


^s 


HEAVENLY   FATHER,  SOVEREIGN   LORD. 

Songs  fok  the  Sanctuary.  Felix  Mendelssohn. 


1.  Heav'n-ly    Fa  -  ther,  sov'reign  Lord,  Be   Thy   glo-rious  name  a    - 

^.  Though  un-wor  -  thy, Lord, Thine  ear  Deign  our  hum-  ble  songs  to 

3.  While   on  earth     or-dained  to    stay, Guide  our  foot-steps   in     Thy 

4.  Then  with  an  -  gel  harps  a  -  gain   We   will  wake    a     no-  bier 


dored ! 
hear; 
way, 
strain ; 


m 


^^z 


:Mziz^ 


3^ 


j=^ 


r^il^^l 


Lord,  Thy   mer-cies   uev-er     fail;   Hail,  ce  -  les   -    tial     good-ness,hail 
Pur  -  er  praise  we  hope   to   bring  When   a  -  round  Thy  throne  we  sing 
Till    we   come    to  dwell  with  Thee,  Till  we     all 
There,  in       joy  -  f  ul  songs  of  praise,  Our  tri  -  um 

H«r.  Third  Reader. 


Tliy     glo  -  ry    see. 
phant  vol  -  ces  raise. 


148 


GOD   EVER  GLORIOUS. 


S.  F.  SBflTH. 


Albzis  T.  Lwoff. 


m 


^ 


# 


nt 


£ 


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'-—cJ- 

1.  God         ev  -    er       glo    -    ri  -  ous!        Sov  -  'reign     of        na   -    tions, 

2.  Still       may   Thy     bless  -   ing  rest,         Fa    -    ther    most      Ho    -     ly. 


^=X- 


3": 


32: 


d: 


3SI 


ing       the        ban 
ver      each    moun 


ner        of       Peace 
tain,    rock,      riv 


o'er       the       land ; 
er,       and     shore ; 


i-^.  I  I  J 


X 


-^^ 


rJ       - 


Thine       is      the       vie 
Sing       Hal  -   le     -    lu 


to  -  ry, 
-       jah! 


Thine 
Shout 


the     sal 
in       ho 


va    -    tion, 
san    -    nas ! 


i 


^ 


B 


t- 


^ 


izs^ 


3^ 


Strong       to 
God        keep 


de    -    liv      -      er 
our      coun    -      try 


Own  we       Thy      hand. 

Free  ev    -     er  -   more. 


THE   STAR-SPANGLED   BANNER. 


i 


Fkancis  Scott  Key. 
fc5 


Dr.  Sabiuel  Arnold. 


S^ 


4=*; 


^= 


=f= 


:=i: 


1^=^ 


1.  Oh !         say,   can    you  see, 

2.  On    the  shore, dim  -  ly  seen 

3.  And      where  is      that  band 

4.  Oh!        thus    be      it        ev 


by  the  dawn's  ear  -  ly 
thro'  the  mist  of  the 
who  so    vaunt-ing  -  ly 


light,  "What  so 
deep.  Where  the 
swore,  'Mid  the 


er  when  free  -  men  shall    stand      Be 


i 


^- 


W 


=1: 


^- 


■^\^ 


=1: 


proud  -  ly  we  hailed   at    the    twilight's  last  gleam-ing?  Whose  stripes  and  bright 
foe's  haughty  host      in  dread  si -lence  re  -  pos  -  es,     What's  that  which  the 
hav  -  oc    of    war    and  the    bat  -  tie's  con  -  f u  -  sion,     A  home  and     a 

tween  their  lov'd  home  and  the  war's  des  -  o  -  la  -  tion,Blest  with  vie-  fry    and 

Har.  Third  (UmIsc. 


i 


^ 


^ 


d: 


;2^ 


::^^5=Kq^ 


^^^=^ 


149 


d^33 


stars  thro'  the  per  -  il  -  ous  fight,  O'er  the  ram-parts  we  watched,  were  so 
breeze,  o'er  the   tow-  er  -  ing  steep,      As     it    fit  -    ful  -  ly  blows,    half  con - 

coun  -  try  they'd  leave  us  no  more  ?  Their  blood  has  washed  out  their  foul 
peace,  may  the  Heav'n-rescued   land  Praise  the  Pow'r  that  hath  made  and  pre - 


5fe: 


^^l 


:=1: 


>'^==^"=Fif=P 


:t^ 


EE 


gal  -  lant  -  ly     stream  -  ing.  And   the  rock  -  ets'     red     glare,     the  bombs 

ceals,    half     dis  -    clos  -   es?  Now     it  catch  -  es      the     gleam      of      the 

foot  -  steps'  poi    -    lu  -  tion.  No  ref  -  uge   could   save     .     ,      the 

served     us       a         na  -  tion.  Then  con  -  quer    we     must,   when  our 


g 


qs=t: 


^ 


§i^=t 


:?2: 


t- 


-0-- 


m 


burst-ing    in      air.      Gave     proof  thro'  the  night  that  our  flag  was  still  there, 
morning's  first  beam.  In  full   glo  -  ry     re  -  fleet  -  ed,now  shines  in   the  stream, 
hire-ling  and  slave  From  the  ter  -  ror  of     flight  or  the  gloom  of   the  grave, 
cause  it      is     just.      And      this    be  our    mot  -  to,  "In  God    is    our  trust." 

Choros. 


■^^^- 


3 


=P=^ 


5^ 


:t 


:^^ 


4= 


O  .    .  say,      does     that  star  -  span  -  gled  ban  -  ner  yet 

Tis  the  star  -  span  -  gled  ban    -  ner,        oh  long      may  it 

And  the  star  -  span  -  gled  ban    -  ner         in  tri    -    umph  shall 

And  the  star  -  span  -  gled  ban    -  ner        in  tri    -    umph  shall 


^^^^^^ 


1 


wave 

O'er  the 

land 

of 

wave 

O'er  the 

land 

of 

wave 

O'er  the 

land 

of 

wave 

O'er  the 

land 

of 

Har.  Third  Raadar. 

the  free  and  tlie  home  of  the  brave? 

the  free  and  the  home  of  the  brave ! 

the  free  and  the  home  of  the  brave ! 

the  free  and  the  home  of  the  bravo  I 


150 


COME,  THOU   ALMIGHTY   KING. 


Chables  Wbslby. 


Felice  Giabdini. 


Ei 


3^ 


id: 


:=1: 


:=J: 


Az 


::^: 


m 


1.  Come,    Thou 

2.  Come,   Thou 


al 
in 


might 
cai' 


y  King, 

nate      Word, 


Help        us 
Gird        on 


Thy 
Thy 


name 
miorht 


to      sing,    Help      us       to     jiraise.      Fa  -  ther  all     glo  -  ri  -  ous, 
y     sword,    Our    prayer  at  -   tend.  Come  and  thy     peo  -  pie  bless, 


^^- 

w^^ 


w 


F^==^-= 


jtrj 


&^: 


£ 


tr. 


^; 


5 


I 


O'er  all    vie-  to    -    ri-ous, Come  and  reign   o  -   A'er   us,     An-cientof     days. 
And  give  Thy  word  suc-cess  ;  Spir  -  it     of      ho   -   li  -  ness,  On     us     de  -  scend. 


BATTLE  HYMN  OF  THE  REPUBLIC. 


Julia  Tf  abd  Howe, 

12. 


4=^: 


-T> 

IH 

z> 

N 

-=i 

h — 

|iV 

^ 

^ 

— •-=— 

-J5 

■# 

«  • 

— 1^  — 

5i      : 

^W=±- 


1.  Mine     .      eyes       have  seen  the  glo 

2.  I        have  seen        Him         in  the  watch    - 

3.  I       have  read          a  fier     -  y  gos 

4.  He       has   sound  -   ed  forth  the  trump     - 


ry 

fires 


of 
of 


pel      writ 
that 


et 


6.  In       the     beau 


ty 


of 


the        lil 


m 


f—fi 


3*^^ 


^=^ 


the 

a 

in 

shall 


ies      Christ        was 


com  -  ing  of  the  Lord ;  He  is  tramp-ling  out 
hun  -  dred  cir-cling  camps  ;They  have  build  -  ed  Him 
burnished  rows  of  steel:  ''As  ye  deal  with  My 
nev  -  er  call  re- treat;  He  is  sift  -  ing  out 
bom     a -cross  the   sea,      With  a     glo  -  ry    in 


the  vint  -  age  Avhere  the 
an    al  -   tar     in       the 
con-tem-ners,  so      with 
the  hearts  of  men     be  - 
His  bos  -  om    that  trans- 

Har.  Third  Reader. 


151 


1^^^ 


3^=:^:_J^ ftzzzh: 


^ 


grapes   of  wrath  are  stored ;  He  hath  loosed  the  fate  -  f ul    light  -  ning  of     His 

even  -  ing  dews  and  damps ;    I     can  read    His  right  -  ecus  sen  -  tence  by     the 

you     My .^ace  shall  deal:"  Let  the  He    -   ro    born    of    worn  -  an  crush  the 

fore     His   judg-ment  seat :     Oh,    be  swift,    my   soul,    to       an-  swerHimtbe 

fig  -  ures   you    and    me ;     As   He  died      to  make  men     ho   -  ly,     let      us 


-^ 


izt: 


m 


-^ 


ter   -   ri  -  ble    swift  sword ;  His  truth  is  march  -  ing  on. 

dim       and  flar  -  ing  lamps :  His  day  is  march  -  ing  on. 

ser  -   pent  with      his  heel,    Since  God  is  march  -  ing  on. 

ju    -    bi  -  lant,     my  feet !     Our  God  is  march  -  ing  on. 

die        to   make    men  free.  While  God  is  march  -  ing  on. 

Chorus. 


0^^^^^^ 


i>=^i=^ft- 


Glo  -  ry,  glo-ry,Hal-le  -  lu   -   jah  !       Glo  -   ry,glo- ry,Hal- le  -  lu  -   jah! 


i 


E# 


=tc 


*. 


# — ^ 


d 


<!^  ,      ^ 


a 


Glo   -   ry,  glo  -  ry.Hal  -  le  -  lu  -   jah!  His  truth      is     march -ing    on. 


Har.  Third  R*ad«r. 


152 


0  PARADISE. 


Frederick  W.  Fabbb. 

r       f)     h 

Joseph  Babnbt. 

LJt-^ 

-> 

P 1 1 

"t^T^t^~S- 

-w- iP— i ^- 

— ^-r- 

—d ■»-- 

—±~ 

m      - 

\!sL>     "  "4     • 

^ 

"■ 

l-d J d 1 

1.0  Par  -  a  -  dise !  O 

2.  O  Par  -  a  -  dise !  O 

3.0  Par  -  a  -  dise !  O 

4.0  Par  -  a  -  dise !  O 


Par  -  a  -  dise  !  Who     doth     not  crave    for 

Par  -  a  -  dise !   The     world    4fi     grow-ing 

Par  -  a  -  dise  !  Where  -fore  doth  death     de  ■ 

Par  -  a  -  dise !     I        want    to      sin       no 


^m 


S3^ 


^ 


^•t 


:!;* 


rest?    Who  would  not  seek  the  hap-   py  land.  Where  they  that  loved   are 

old;     Who  would  not     be  at  rest     and  free, Where  love  is      nev   -  er 

lay  ?  Bright  death,  that  is  the  wel  -  come  dawn  Of      our  e    -   ter  -   nal 

more ;      I     want     to     be  as  pure     on   earth    As       on  thy    spot  -  less 


g 


Elt 


It: 


-fSJ- 


X 


=t=F 


blest?  Where  loy  -  al  hearts,  and  true, 

cold?  Where  loy  -  al  hearts,  and  true, 

day.  Where  loy  -  al  hearts,  and  true, 

shore.  Where  loy  -  al  hearts,  and  true, 


Stand 

ev  - 

er 

in 

the 

Stand 

ev  - 

er 

m 

the 

Stand 

ev  - 

er 

in 

the 

Stand 

ev  - 

er 

in 

the 

g 


s: 


=i: 


^iiit^ 


£ 


:± 


light,  All    rap  -  ture  thro'  and  thro',  In  God's  most  ho  -  ly  sight.    A -men. 


JERUSALEM  THE  GOLDEN. 


Bernard  of  Cluny. 


Alexander  Ewino. 


i 


:ii: 


P3 


^ 


5 


=s 


?^ 


■jL      ^ 


■^ ::g: 


1.  Je   -   ru  -   sa  -   lem     the    gold    -   en.    With   milk   and     hon  -   ey     blest: 

2.  They  stand,  those  halls    of       Zi    -     on.      All      ju    -   bi  -  lant    with   song, 

3.  There    is      the  throne   of       Da     -   vid.     And  there,  from  care       re  -  leased. 


aUIJ^jEEgJEgEd 


^ 


Be  -  neath  thy  con  -  tem  -  pla  -  tion,  Sink  heart  and  voice  op -pressed. 
And  bright  with  many  an  an  -  gel  And  all  the  mar  -  tyr  throng. 
The      song     of      them  that      tri  -   imiph,  The  shout     of     them  that    feast. 


Har.  Third  Reader 


i 


I     know   not. 
The  Prince  is 


oh,        I      know     not.     What    jojs 
ev    -   er      in        them.     The     day 


163 


^= 


a  -  wait     me    there ; 
liglit  is        se   -  rene ; 


And  they    who    with    their  Lead   -    er        Have   con  -  quered  in       the    fight. 


i^ 


^B 


i=:J: 


What  ra  -  dian  -  cy  of  glo  - 
The  pas  -  tures  of  the  bless  - 
For  -  ev  -    er      and    for  -  ev    - 


~i^-' — zg: 


ry,     AVhat    light     be  -  yond     com-pare. 
ed        Are    decked  in     glo  -  nous  sheen. 
er       Are     clad      in    robes     of  white. 


PORTUGUESE   HYMN. 


James  Montgomery. 


J.  READrNQ. 


i 


^ 


s 


w- 


■:X 


-j^z. 


::]=:1= 


1.  The     Lord       is      my    shop  -  herd,  no       want     shall     I         know;  I 

2.  Let      good  -  ness   and    mer    -  cy,    my      boun    -    ti  -  ful       God,  Still 


i^ 


^l=3t 


E 


feed      in  green  pas    -  tures  ;  safe  fold  -  ed         I    rest ;      He  lead  -  eth     my 
fol  -  low    my    steps       till     I      meet  Thee     a  -  bove ;      I     seek      by     the 


fc 


^ 


^ 


1 


^ 


w 


fct 


^ 


-*-*- 


soul  where  the  still 
path  which  my  f  ^re 


wa-ters    flow, 
fa-thers   trod, 

^ N-X 


lie    -   stores  me  when  wand'ring.re  - 
Thro'  the  land      of    their  so-joum,  Thy 


i 


I 


S=Jfe 


^^ 


deems  when  op-press'd.  Re   -  stores  me  when  wandering, redeems  when  oppressed, 
king  dom  of     love,  Thro'  the  land     of  their   so  -  journ.Thy  kingdom  of  love. 


H*r.  Third  Raadar. 


164 


COLUMBIA,  THE   GE»f  OF   THE   OCEAN. 


D.  T.  Shaw, 
Spirited. 


D.  T.  Shaw. 


r=f^jiJ^^^-j^^ 


-^j^-jv- 


^^e^^^ 


:ti;F 


1.  Oh  !  Co-lum  -  bia,  the  gem  of  the     o-cean,      The  home  of  the  brave  and  the 

2.  When  war  wing'd  its  wide  des-o  -  la  -  tion.       And  threaten'd  the  land    to  de  - 
8.     The     star-span-gled  ban-ner  bring  hith-er.  O'er  Co-lum-bia's  true  sons  let  it 


:S=^ 


S^ 


-^—^—^ 


free,  The     shrine     of     each  pa  -  triot's  de  -  vo  -  tion,  A  .  . 

form.  The        ark     then    of    free-dora's  foun-da  -  tion,  Co    - 

wave ;       May  the  wreaths  they  have  won  nev  -  er  with  -  er.  Nor    its 


^^SS 


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ILZ 


it 


iMn^za^^"* 


3^ 


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world  of  -  fers  hom  -  age  ^lo  thee, 
lum  -  bia,rode  safe  thro'  the  storm ; 
stars  cease  to    shine  on  the  brave. 


Thy    man-  dates  make  he  -  roes  as  - 

With    gar-lands    of    vie  -  fry   a  - 

May  the  serv  -  ice     u  -  nit  -  ed  ne'er 


-*-!i-d 


^^=^ 


?? 


^- 


± 


-^-^ 


^ 


sem-ble, 

round  her, 

sev  -  er, 


When     Lib  -  er  -  ty's 

When  so  proud-ly      she 

But         hold  to    their 


form  stands  in  view ;  Thy 

bore  her  brave  crew ;  With  her 

col  -  ors       so  true;  The 


:tp:^=*- 


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ws 


w-^» 


^ 


ban-ners  make  tyr-an-ny  tremble,  When  borne  by   the  red. white, and  blue,  When 
flag  proud-ly  float-ing  be-fore  her.   The  boast  of    the  red,  white, and  blue,  The 
ar  -  my    and  na  -  vy  for-  ev-er.  Three  cheers  for  the  red, white, and  blue.  Three 


'•i^m^^^^m^^E^^^E^E^^i 


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bome  by  the  red, white, and  blue,  When  borne  by  the  red, white, and  blue ;  Thy 
boast  of  the  red,white,and  blue,  Tlie     boast  of  the  red, white, and  blue  ;With  her 
cheers  for  the  red, white, and  blue, Three  cheers  for  the  red, white, and  blue ;  The 


ban-ners  make  tyr  -  an-ny  tremble, 
flag  proud-ly  float-ing  be-fore  her, 
ar  -  my  aad  na  -  vy  for  -  ev  -  er. 


When  borne  by  the  red, white, and  blue. 
The  boast  of  the  red, white,and  blue. 
Three  cheers  for  the  red.white.and  blue. 


Har.  Third   Reader. 


155 


MARCH  OF  THE  MEN  OF  HARLECH. 


William  Dtjthie. 


Welsh  National  Song. 


1.  Men     of  liar- lech !  In  the    hoi  -  low, Do    ye    hear,  like  rush-in g    bil -low, 

2.  liock  -  y  steeps  and  pass-es    nar  -  row  Flash  with  spear  and  flight  of  ar  -row  ; 


^^ 


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=F^ 


:c2: 


Wave     on  wave    that  sur  -  ging  fol  -    low   Bat-  tie's     dis  -     tant  sound  ? 
Who  would  think   of  death    or     sor  -   rowPDeath  is       glo    -     ry       now ! 


E3 


'Tis      the  tramp  of  Sax  -  on  foe -men,  Sax- on   spear -men.  Sax  -  on   bow -men. 
Hurl   the  reel-  ing  horse  -ma*n   o  -  ver,  Let  the  earth  dead  foe-  men   gov-  er ! 


F^t*-^- 

— ^ — 1    "^"d    «    1* —    ^r^  ^  0  •'^~if~^'   s ' 

_^_^_^_W • 1 ^_? ^__cJ.       ^^ 

Be        they  knights, or  hinds,  or     yeo  -  men,  They    shall  bite     the  ground ! 
Fate        of    friend,   of  wife,     of       lov  -  er,     Trem  -  bles    on       a      blow ! 


:fe^£i^^ 


^-^'-^ 


-^^^: 


:e^t==-^=l 


Loose  the  folds  a  -  sun  -der,  Flag  we  con  -  quer  un-der !      The  plac-id  sky  now 
Strands  of  life  are  riv  -  en ;  Blow  for  blow   is     giv-  en,        In  dead-ly  lock,  or 


^^l^i^^S^si 


i^ 


bright   on  high  Shall     launch  its     bolts   in      thun-der!      On -ward  ! 'tis  our 
bat-    tie  shock,  And     mer  -  cy      shrieks  to    heav  -  en !      Men     of   Har-lech! 


i 


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coun  -   try      needs     us,      He       is      brav  -   est,       he      who     leads     us ! 
young     or       hoar  -   y.    Would  you   win         a       name     in         sto  -    ry? 


g 


^=^^1^ 


l^z 


lion  -   or's  self      now  proud-ly     heads     us  !  Free-dom !   God,     and  Right ! 
Strike      for  home,   for  life,   for    glo  -    ry !  Free-dom !   God,     and  Right  I 


H»r.  Third  RaadM 


156 


PRAISE    THE   LORD. 


i 


Bishop  BiCHARD  Manx 

i2 


Joseph  Hatdn. 


W 


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i 


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1.  Praise  the  Lord!  ye  heav'ns,  a  -  dore  Him,  Praise  Him,  an-gels      in      the 

2.  Praise  the  Lord,  for     He       is       glo  -  rious  ;  Nev-er     shall    His  prom-ise 


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diz 


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height;  Sun  and  moon,  re  -  joice     be  -  fore  Him ;  Praise  Ilim,  all  ye  stars  of 
fail ;  God    hath  made  His  saints  vie  -  to  -  rious,  Sin  and  death  shall  not  pre- 


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light !  Praisethe  Lord,  for  He  hath  spo-ken ;  Worlds  his  mighty  voice      o-beyed. 
vail.  Praise  the  God     of  our  sal  -  va  -tion.Hosts  on  high,  His  pow'r  pro-claim ; 


a 


:g=p^g^&^^ip^^ipi 


Efci 


Laws  which  nev  -  er  shall  be     bro-ken,  For   their  guid-anceHe  hath  made. 
Heav'n  and  earth,  and    all  ere  -  a  -  tion,  Laud  and   mag  -  ni   -  f y    His    name. 


Har.  Third  Reader. 


157 


HOLY   NIGHT. 


I#i^^-^- 

FTn 

—is- 

pj- 

Michael  Hatdk. 

L-=      k 

1.  Si  -   lent 

2.  Si  -  lent 
8.  Si  -  lent 

..             J     -^ 

1 

night, 
night, 
night, 

— J-=— 

Ho    - 
Ho    - 
Ho    - 

J 

ly 

ly 

night, 
night, 
night, 

h 

All 
Shep 
Son 

& 

is       calm,     all 
-  herds  quake   at 
of      God,  love's 

1/    r 

is     bright 
the    sight, 
pure   light 

^   J. 

— -0 

1 u — j 1 

1            W 

I 

T 

1 

-t— 1— 

h-^ 

e-H 

Round  yon   Vir  -  gin  Moth-er  and  Child.    Ho  -  ly    In  -  f  ant  so    ten-der  and  mild, 
Glo-ries  stream  from  Heav-en   a  -  far,   Heav'n-ly    hosts      sing  Al  -  le  -  lu  -  ia ; 
Radiant  beams  from  Thy  ho-  ly   face.     With   the  dawn  of   re  -  deem  -  ing  grace. 


-_ —  ^ q —  _ — -  — - — j_ — _. 


S      K^  fc     IS 


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Sleep     in   heav-  en  -  ly  peace, 

Christ,  the  Sav-ior,   is  bom! 

Je  -  BUS,  Lord,  at  Thy  birth ! 

^    ft 


^=^ 


n       R      N        1^ 


Sleep      in    heav  -  en  -  ly      peace. 

Christ,    the   Sav  -  ior,     is      bom ! 

Je  -  sus,  Lord,   at    Thy     birth! 


J^-J^ 


^ 


^ 


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Har.  Third  Rsadar. 


T~l 


168 


GUIDE 

Rev.  W.  Williams. 

Oh,                   1                  1^^ 

ME, 

0   THOU   GREAT 

_    1       r-1 

JEHOVAHI 

J 

F.  HiBOU). 

bM,^:^ &=d- 

-0 

-W »-f- 

— 0 

N — ^ 

1.  Guide    me, 

2.  0     -    pen 
8.  When      I 

J       r: 

0 

now 
tread 

r 

Thou 
the 
the 

great      Je     - 
crj'S    -   tal 
verge       of 

'— *• — 
1 

ho  - 
foun 
Jor  - 

r 

vah ! 

-  tain, 

dan. 

9. .0_ 

•r    r 

Pil  -  grim 
Whence    the 
Bid       my 

H— ^1 

PA^  -^ — r^ 

w- — 

1 

t\ P 

— ^ 

|- 

P= 

L.                        p 

r 

' 

r 

through  this  bar  -  ren 
heal  -  ing  stream  doth 
anx  -  ious      fears    sub  ■ 


land ;      I 
flow ;     Let 
side;  Death 


am  weak,  but  Thou  art  might-y, 
the  fier  -  y,  cloud  -  y  pil  -  lar 
of    deaths, and    all       de  -   struction ! 


tSESEE* 


u?: 


^ 


W.=^^J., 


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P  »~ 


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32 


^ 


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Hold    me      with    Thy       pow'r  -  ful 
Lead   me        all      my  jour  -  ney 

Land   me       safe     on  Ca  -  naan' 


hand.      Bread     of      Hcav 
through.  Strong   De   -  liv 
s   side.       Songs     of      prais 


-  en, 
-  'rer. 


es, 


'^S 


■f — tj-^ — r 

Bread  of  Ileav  -  en. 
Strong  De  -  liv  -  'rer. 
Songs      of        prais  -  es. 


ifiS 


Feed     me 
Be   Thou 
I      will 


till         I 

still      my 

ev  -    er 


W 
I 
want      no 

strength  and 

give      to 


more, 
shield. 
Ihee. 


^ 


I 


:?= 


Har.  Third  Reader. 


Il^DEX. 


Paob  Poet  or  Source  Cobtposeb  oh  Soitbcb 

61  Abide  with  Me Henry  Francis  Lyte  .     .      WilUwii  Henry  Monk 

141  America S.  F.  Smith Henry  Carey  (f) 

146  America  the  Beautiful Katharine  Lee  Bates  .*  .     .    Will  C.  Macfarlane 

71  Ariel's  Song William  Shakespeare 

150  Battle  Hymn  of  the  Republic  .     .     .     Julia  Ward  Howe 

13  Bell-man,  The Robert  Herrick 

142  Blessed  are  the  Merciful      ....     Matthew,  v  :  7 

128  Brook's  Slumber  Song M.  C.  Gillington A.  L.  Cowley 

48  Child's  Prayer,  The G.  Campbell T.  S.  Gleadhill 

154  Columbia,  the  Gem  of  the  Ocean  .     .     D.  T.  Shaw D.  T.  Shaw 

160  Come,  Thou  Almighty  King     .     .     .     Charles  Wesley Felice   Giardini 

79  Death  of  the  Old  Year Alfred,  Lord  Tennyson 

119  Evening  Prayer F.  Silcher 

83  Fairies'  Dance,  The F.  W.  Farrington 

22  Faith  Rejoices ; H.  F  Miiller 

37  Fatherland,  The A.  Melhfessel 

145  Flag  of  the  Free Bichard  Wagner 

121  Flowery  Month  of  June,  The William  Jackson 

125  Forest  Home,  The Sir  Julius  Benedict 

64  Future,  The F.  H.  Himmel 

137  Gayly  the  Troubadour T.  H.  Bayly 

66  Gay-robed  Spring John  Guard Felix,  Mendelssohn 

28  Give  Me  a  Look Ben  Jonson J.  Sneddon 

77  Give  thy  Heart's  Best  Treasures  !      .     Adelaide  A.  Proctor 

73  God  Be  Our  Guide Franz  Abt 

148  God  Ever  Glorious S.  F.  Smith Alexis  T.  Lwqff 

63  God  Omnipotent Henry  Kirk  White 

89  Grace  before  Meat Robert  Herrick 

168  Guide  Me,  O  Thou  Great  Jehovah :  .     Rev.  W.  Williams F.  Herald 

144  Hail,  Columbia ! Joseph  Hopkinson Prof.  Phyla 

103  Happiest  Heart,  The John  Vance  Cheney  .     .    George  Henry  Howard 

29  Haymaknig  Song Alfred  Scott  Gatty 

138  Heart  Bowed  Down,  The     ....     "The  Bohemian  Girl"  .   Michael  William  lialfe 

147  Heavenly  Father,  Sovereign  Lord  Songs  for  the  Sanctuary      .      Felix  Mendelssohn 

157  Holy  Night Michael  Haydn 

115  How  They  so  Softly  Rest    .     .     .     .     H.  W.  Longfellow IF.  '/.  Deane 

87  In  the  Gay  Month  of  October Alfred  Scott  Gatty 

110  In  Woods  is  Peace Franz  Abt 

152  Jerusalem  the  Golden ,  Bernard  of  Cluny      ....  Alexander  Kwing 

140  Last  Rose  of  Summer,  The      ...     Thomas  Moore Irish  Melody 

81  Life 

102  Little  Flowers  are  Bending,  The  ,     ...,,,,,.       Air  of  the  17th  Century 

Har.  Third  R«>d«r  159 


160  INDEX. 

Page  Poet  or  Source  Composer  or  Socrcb 

74  Lordly  Gallants George  Wither Dr.  CaUcott 

67  Lord's  Prayer,  The 

155  March  of  the  Men  of  Harlech  .     .     .     William  Duthie    .     .     .      Welsh  National  Sang 

17  Mighty  God 

19  Miller  of  the  Dee,  The Charles  Kingsley Old  English  Air 

134  My  God,  how  Endless  is  Thy  Love  1 German 

15  Night Elizabeth  Lindner Robert  Franz 

70  O  Light-bearing  Star C  //.  Fischer 

152  O  Paradise Frederick  W.  Faber  ....       .Joseph  Bamhy 

65  Oh  !  Skylark,  for  thy  Wing     .     .     .     Felicia  Hemans J.  Sneddon 

69  Old  Time,  that  Owns  fso  Pause J.  Sneddon 

143  Onward,  Christian  Soldiers      .     .     .     Rev.  S.  Baring-Gould     .   Sir  Arthur  S.  Sullivan 

153  Portuguese  Hymn James  Montgomery J.  Heading 

156  Praise  the  Lord Bishop  Richard  Mant     ....  Joseph  Haydn 

26  Prayer * F.  Silcher 

63  Prayer  for  our  Navy W.  Vere  Mingard      ...      F.  W.  Farrington 

101  Psalm  of  Life,  A H.  W.  Longfellow     ....      Franz  Schubert 

187  Robin  Adair Caroline  Keppel Scotch  Melody 

66  Rosy-cheeked  Urchin,  The ....     John  Orton J.  Sneddon 

130  Shades  of  Night,  The J.  E.  Perring 

106  Sing  unto  God George  Oakey 

136  Softly  Now  the  Light  of  Day  .     .     .     G.  W.  Doane C.  M.  von  Weber 

91    Soldiers,  Brave  and  Gallant  Be ...       Giacomo  Gastoldi 

44  Song  of  the  Year,  A Ellis  Walton 

134  Star  of  Peace J.  E.  Gould 

148  Star-Spangled  Banner,  The  .     .     Francis  Scott  Key      .     .     .    Dr.  Samuel  Arnold 

46  Stay,  Weary  Wanderer F.  Schubert 

40  Summer  Evening A.  J.  Foxwell H.  Hoffman 

11    Summer  Song,  A Julia  C.  Dorr 

132  Sweet  Convent  Bells J.  L.  Hatton 

139  Then  You'll  Remember  Me Michael  William  Balfe 

51   To  a  Bird,  Singing F.  Gartz 

80  To  the  Chrysanthemum       .     .     .     .     W.  C.  Bennett A.  R.  Gaul 

69  To  the  Cuckoo William  Wordsworth 

35  To  the  Evening  Star Carl  Reinecke 

136  Vesper  Hymn Russian  Melody 

94  Wake  !  Wake  ! F.  von  Flotow 

31   When  Larks  Ascend 

104  Woodland  Voices Augusta  Hancock      .     .     .     .  G.  Francis  Lloyd 


Har.  Third  Raader. 


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